Wandering Peoples is a chronicle of cultural resiliency, colonial relations, and trespassed frontiers in the borderlands of a changing Spanish empire. Focusing on the native subjects of Sonora in Northwestern Mexico, Cynthia Radding explores the social process of peasant class formation and the cultural persistence of Indian communities during the long transitional period between Spanish colonialism and Mexican national rule. Throughout this anthropological history, Radding presents multilayered meanings of culture, community, and ecology, and discusses both the colonial policies to which peasant communities were subjected and the responses they developed to adapt and resist them.
Radding describes this colonial mission not merely as an instance of Iberian expansion but as a site of cultural and political confrontation. This alternative vision of colonialism emphasizes the economic links between mission communities and Spanish mercantilist policies, the biological consequences of the Spanish policy of forced congregación, and the cultural and ecological displacements set in motion by the practices of discipline and surveillance established by the religious orders. Addressing wider issues pertaining to ethnic identities and to ecological and cultural borders, Radding’s analysis also underscores the parallel production of colonial and subaltern texts during the course of a 150-year struggle for power and survival.

War on Error brings together the stories of twelve young people, all vastly different but all American, and all Muslim. Their approaches to religion couldn’t be more diverse: from a rapper of Korean and Egyptian descent to a bisexual Sudanese American to a converted white woman from Colorado living in Cairo and wearing the hijab. These individuals, whether they were born to the religion or came to it on their own, have made their own decisions about how observant they’ll be, whether or not to fast, how often to pray, and what to wear. Though each story is unique, each is also seen through the searching eyes of Melody Moezzi, herself an American Muslim of Iranian descent. She finds that the people she interviews are horrified that, in a post-9/11 world, they have seen their religion come to be represented, in the minds of many Americans, by terrorism. These thoughtful and articulate individuals represent the truth about the faith and its adherents who are drawn to the logic, compassion, and tolerance they find in Muslim teachings. Moezzi, ever comfortable with contradiction and nuance, is a likable narrator whose underlying assumption that “faith is greater than dogma” is strengthened as she learns more about her religion and faces her own biases and blind spots. This fresh new voice, combined with the perceptions and experiences of her fellow American Muslims, make for a read that is both illuminating and enjoyable.

Though often associated with foreigners and refugees, many Somalis have lived in Kenya for generations, in many cases since long before the founding of the country. Despite their long residency, foreign and state officials and Kenyan citizens often perceive the Somali population to be a dangerous and alien presence in the country, and charges of civil and human rights abuses have mounted against them in recent years.

In We Do Not Have Borders, Keren Weitzberg examines the historical factors that led to this state of affairs. In the process, she challenges many of the most fundamental analytical categories, such as “tribe,” “race,” and “nation,” that have traditionally shaped African historiography. Her interest in the ways in which Somali representations of the past and the present inform one another places her research at the intersection of the disciplines of history, political science, and anthropology.

Given tragic events in Kenya and the controversy surrounding al-Shabaab, We Do Not Have Borders has enormous historical and contemporary significance, and provides unique inroads into debates over globalization, African sovereignty, the resurgence of religion, and the multiple meanings of being African.

White Men Challenging Racism is a collection of first-person narratives chronicling the compelling experiences of thirty-five white men whose efforts to combat racism and fight for social justice are central to their lives. Based on interviews conducted by Cooper Thompson, Emmett Schaefer, and Harry Brod, these engaging oral histories tell the stories of the men’s antiracist work. While these men discuss their accomplishments with pride, they also talk about their mistakes and regrets, their shortcomings and strategic blunders. A foreword by James W. Loewen, author of Lies My Teacher Told Me, provides historical context, describing antiracist efforts undertaken by white men in America during past centuries.

Ranging in age from twenty-six to eighty-six, the men whose stories are presented here include some of the elder statesmen of antiracism work as well as members of the newest generation of activists. They come from across the United States—from Denver, Nashville, and San Jose; rural North Carolina, Detroit, and Seattle. Some are straight; some are gay. A few—such as historian Herbert Aptheker, singer/songwriter Si Kahn, Stetson Kennedy (a Klan infiltrator in the 1940s), and Richard Lapchick (active in organizing the sports community against apartheid)—are relatively well known; most are not. Among them are academics, ministers, police officers, firefighters, teachers, journalists, union leaders, and full-time community organizers. They work with Latinos and African-, Asian-, and Native-Americans. Many ground their work in spiritual commitments. Their inspiring personal narratives—whether about researching right-wing groups, organizing Central American immigrants, or serving as pastor of an interracial congregation—connect these men with one another and with their allies in the fight against racism in the United States.

All authors’ royalties go directly to fund antiracist work. To read excerpts from the book, please visit http://www.whitemenchallengingracism.com/

Who Shall Enter Paradise? recounts in detail the history of Christian-Muslim engagement in a core area of sub-Saharan Africa’s most populous nation, home to roughly equal numbers of Christians and Muslims. It is a region today beset by religious violence, in the course of which history has often been told in overly simplified or highly partisan terms. This book reexamines conversion and religious identification not as fixed phenomena, but as experiences shaped through cross-cultural encounters, experimentation, collaboration, protest, and sympathy.

Shobana Shankar relates how Christian missions and African converts transformed religious practices and politics in Muslim Northern Nigeria during the colonial and early postcolonial periods. Although the British colonial authorities prohibited Christian evangelism in Muslim areas and circumscribed missionary activities, a combination of factors—including Mahdist insurrection, the abolition of slavery, migrant labor, and women’s evangelism—brought new converts to the faith. By the 1930s, however, this organic growth of Christianity in the north had given way to an institutionalized culture based around medical facilities established in the Hausa emirates. The end of World War II brought an influx of demobilized soldiers, who integrated themselves into the local Christian communities and reinvigorated the practice of lay evangelism.

In the era of independence, Muslim politicians consolidated their power by adopting many of the methods of missionaries and evangelists. In the process, many Christian men and formerly non-Muslim communities converted to Islam. A vital part of Northern Nigerian Christianity all but vanished, becoming a religion of “outsiders.”

Bringing together the work of prominent scholars and rising stars in southern, western, and Indian history, A Whole Country in Commotion explores lesser-known aspects of one of the better-known episodes in U.S. history. While the purchase has been seen as a great boon for the United States, doubling the size of the new nation and securing American navigation on the Mississippi River, it also brought turmoil to many. Looking past the triumphal aspects of the purchase, this book examines the “negotiations among peoples, nations and empires that preceded and followed the actual transfer of territory.” Its nine essays highlight the “commotion” the purchase stirred up—among nations, among Louisiana residents and newcomers, even among those who remained east of the Mississippi. Many of these essays look at the portion of the Louisiana territory that would become Arkansas to illustrate the profound impact of the purchase on the diverse populations of the American Southwest. Others explore the woeful commotion brought to many thousands of lives as Jefferson’s “noble bargain” set the stage for the forced migration of native and African Americans from the east to the west of the Mississippi.

Whose Art Is It? is the story of sculptor John Ahearn, a white artist in a black and Hispanic neighborhood of the South Bronx, and of the people he cast for a series of public sculptures commissioned for an intersection outside a police station. Jane Kramer, telling this story, raises one of the most urgent questions of our time: How do we live in a society we share with people who are, often by their own definitions, "different?" Ahearn’s subjects were "not the best of the neighborhood." They were a junkie, a hustler, and a street kid. Their images sparked a controversy throughout the community—and New York itself—over issues of white representations of people of color and the appropriateness of particular images as civic art. The sculptures, cast in bronze and painted, were up for only five days before Ahearn removed them.
This compelling narrative raises questions about community and public art policies, about stereotypes and multiculturalism. With wit, drama, sympathy, and circumspection, Kramer draws the reader into the multicultural debate, challenging our assumptions about art, image, and their relation to community. Her portrait of the South Bronx takes the argument to its grass roots—provocative, surprising in its contradictions and complexities and not at all easy to resolve.
Accompanied by an introduction by Catharine R. Stimpson exploring the issues of artistic freedom, "political correctness," and multiculturalism, Whose Art Is It? is a lively and accessible introduction to the ongoing debate on representation and private expression in the public sphere.

On December 22, 1997, forty-five unarmed members of the indigenous organization Las Abejas (The Bees) were massacred during a prayer meeting in the village of Acteal, Mexico. The members of Las Abejas, who are pacifists, pledged their support to the Zapatista Army of National Liberation, a primarily indigenous group that has declared war on the state of Mexico. The massacre has been attributed to a paramilitary group composed of ordinary citizens acting on their own, although eyewitnesses claim the attack was planned ahead of time and that the Mexican government was complicit.

In Without History, José Rabasa contrasts indigenous accounts of the Acteal massacre and other events with state attempts to frame the past, control subaltern populations, and legitimatize its own authority. Rabasa offers new interpretations of the meaning of history from indigenous perspectives and develops the concept of a communal temporality that is not limited by time, but rather exists within the individual, community, and culture as a living knowledge that links both past and present.

Due to a disconnection between indigenous and state accounts as well as the lack of archival materials (many of which were destroyed by missionaries), the indigenous remain outside of, or without, history, according to most of Western discourse. The continued practice of redefining native history perpetuates the subalternization of that history, and maintains the specter of fabrication over reality.

Rabasa recalls the works of Marx, Lenin, and Gramsci, as well as contemporary south Asian subalternists Ranajit Guha and Dipesh Chakrabarty, among others. He incorporates their conceptions of communality, insurgency, resistance to hegemonic governments, and the creation of autonomous spaces as strategies employed by indigenous groups around the globe, but goes further in defining these strategies as millennial and deeply rooted in Mesoamerican antiquity. For Rabasa, these methods and the continuum of ancient indigenous consciousness are evidenced in present day events such as the Zapatista insurrection.

Woman in the Wilderness is a collection of letters written between 1832 and 1892 to and by an American woman, Harriet Wood Wheeler.
     Harriet's letters reveal her experiences with actors and institutions that played pivotal roles in the history of American women: the nascent literate female work force at the mills in Lowell, Massachusetts; the Ipswich Female Seminary, which was one of the first schools for women teachers; women's associations, especially in churches; and the close and enduring ties that characterized women's relationships in the late nineteenth century.
     Harriet's letters also provide an intimate view of the relationships between American Indians and Euro-Americans in the Great Lakes region, where she settled with her Christian missionary husband.

Only decades ago, the population of Guangzhou was almost wholly Chinese. Today, it is a truly global city, a place where people from around the world go to make new lives, find themselves, or further their careers. A large number of these migrants are small-scale traders from Africa who deal in Chinese goods—often knockoffs or copies of high-end branded items—to send back to their home countries. In The World in Guangzhou, Gordon Mathews explores the question of how the city became a center of “low-end globalization” and shows what we can learn from that experience about similar transformations elsewhere in the world.
 
Through detailed ethnographic portraits, Mathews reveals a world of globalization based on informality, reputation, and trust rather than on formal contracts. How, he asks, can such informal relationships emerge between two groups—Chinese and sub-Saharan Africans—that don't share a common language, culture, or religion? And what happens when Africans move beyond their status as temporary residents and begin to put down roots and establish families?
 
Full of unforgettable characters, The World in Guangzhou presents a compelling account of globalization at ground level and offers a look into the future of urban life as transnational connections continue to remake cities around the world. 

A diverse group of writers and scholars follow the lead of noted folklorist Barre Toelken and consider, from the inside, the ways in which varied cultures in the American West understand and express their relations to the world around them. As Barre Toelken puts it in The Dynamics of Folklore, "'Worldview' refers to the manner in which a culture sees and expresses its relation to the world around it." In Worldviews and the American West, seventeen notable authors and scholars, employing diverse approaches and styles, apply Toelken's ideas about worldview to the American West. While the contributors represent a range of voices, methods, and visions, they are integrated through their focus on the theme of worldview in one region. Worldviews and the American West includes essays by Margaret K. Brady, Hal Cannon, Nora Marks Dauenhauer and Richard Dauenhauer, James S. Griffith, Barry Lopez, Robert McCarl, Elliott Oring, Twilo Scofield, Steve Siporin, Kim Stafford, C. W. Sullivan III, Jeannie B. Thomas, George Venn, George B. Wasson, and William A. Wilson. Each of the authors in this collection attempts to get inside one or more of the worldviews of the many cultures that have come to share and interpret the American West. The result is a lively mix of styles and voices as the authors' own worldviews interact with the multiple perspectives of the diverse peoples (and, in Barry Lopez's "The Language of Animals," other species) of the West. This diversity matches the geography of the region they all call home and gives varied life and meaning to its physical and cultural landscape.