Becoming What We Are is a collection of essays and reviews written in the last decade by the late Jude Dougherty, which covey a perspective on contemporary events and literature, written from a classical and Christian perspective. These essays convey a worldview much in need of restating when, according to Dougherty, Western society seems to have lost its bearings, in its legislative assemblies and in its judicial systems as well. Dougherty writes as a philosopher, specifically as one who has devoted most of his life to the study of metaphysics. In these pages Dougherty examines the Jacobians, the empirical world of Hume, Locke and Hobbes, and Kant, the metaphysics of Plato, Aristotle, the Stoics and Aquinas that opens one to God and provides on with a moral compass, and critiques the work of Karl Marx, Sigmund Freud and John Dewey. Becoming What We Are spends some time inquiring into the character of a few great men viz. George Washington, Charles De Gaulle and Moses Maimonides. Dougherty draws upon and shows respect for numerous contemporary authors who are engaged in research and analysis similar to his. The intent is, with the aid of others to restate some ancient but neglected truths. But more than that to show that true science is possible, that nature and human nature yield to human enquiry, that science is not to be confused with description and prediction.

Afrocentrism. Eurocentrism. Caribbean Studies. British Studies. To the forces of cultural nationalism hunkered down in their camps, this bold hook sounds a liberating call. There is, Paul Gilroy tells us, a culture that is not specifically African, American, Caribbean, or British, but all of these at once, a black Atlantic culture whose themes and techniques transcend ethnicity and nationality to produce something new and, until now, unremarked. Challenging the practices and assumptions of cultural studies, The Black Atlantic also complicates and enriches our understanding of modernism.

Debates about postmodernism have cast an unfashionable pall over questions of historical periodization. Gilroy bucks this trend by arguing that the development of black culture in the Americas arid Europe is a historical experience which can be called modern for a number of clear and specific reasons. For Hegel, the dialectic of master and slave was integral to modernity, and Gilroy considers the implications of this idea for a transatlantic culture. In search of a poetics reflecting the politics and history of this culture, he takes us on a transatlantic tour of the music that, for centuries, has transmitted racial messages and feeling around the world, from the Jubilee Singers in the nineteenth century to Jimi Hendrix to rap. He also explores this internationalism as it is manifested in black writing from the “double consciousness” of W. E. B. Du Bois to the “double vision” of Richard Wright to the compelling voice of Toni Morrison.

In a final tour de force, Gilroy exposes the shared contours of black and Jewish concepts of diaspora in order both to establish a theoretical basis for healing rifts between blacks and Jews in contemporary culture and to further define the central theme of his book: that blacks have shaped a nationalism, if not a nation, within the shared culture of the black Atlantic.

By 1920 Buenos Aires was the largest and most cosmopolitan city of Latin America due to mass immigration from Europe in the previous decades. Unbridled urban expansion had drastic effects on the social and cultural topography of the Argentine capital, raising ideological and aesthetic issues that shaped the modernist landscape of the country. Artists across disciplines responded to these changes with conflicting depictions of urban space. Centering these conflicts as a cognitive map of modernity’s new realities in the city, Buenos Aires across the Arts looks at the interaction between modernity and modernism in literature, photography, film, and painting during the interwar period. This was a time of profound change and heightened cultural activity in Argentina. Eleni Kefala analyzes works by Jorge Luis Borges, Oliverio Girondo, José Ferreyra, Xul Solar, Roberto Arlt, and Horacio Coppola, with a focus on the city of Buenos Aires as a playground of modernity.