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Flewellen A: The Will to Adorn

The Will to Adorn

Black Women and Sartorial Choice after Enslavement

Routledge Studies in Cultural Heritage and International Law

The Legal Pluralism of Heritage: Restitution and the Normative Knowledge of Communities of Origin explores one of the most urgent debates in international cultural heritage law today: the role of Indigenous laws and local norms about material culture in the restitution process.In an era of rising claims for restitution, this book examines how diverse legal and normative orders engage with communities seeking the return of cultural objects held in museums, private collections, and institutions worldwide. It argues that restitution processes need to consider the normative knowledge of communities of origin. Moving beyond conventional legal analysis, the volume includes theoretical interventions and case studies from (international) law, anthropology, archaeology, history, museum studies, art history and Indigenous legal studies, and from all five continents. It offers a new framework for understanding restitution not merely as a legal process, but as a dialogue between legal systems and the knowledge traditions of the communities to whom heritage belongs.Timely and thought-provoking, this book is an essential resource for researchers and practitioners in international law, legal history, historical anthropology, and cultural heritage studies.

Restitution and the Normative Knowledge of Communities of Origin

The Legal Pluralism of Heritage

Penguin Modern Classics

'I am Black because I come from the earth's inside now take my word for jewel in the open light.' Impassioned and profound, the poems in Coal showcase Audre Lorde in all her dazzling elegance and multiplicity. Mournful, celebratory, politically conscious, this early collection faithfully captures the complex interiority of the self. With insight and great feeling, these poems explore racial and sexual politics, liberation and love; they are strongly autobiographical (including poems about Lorde's children, her sister and her parents, as well as an elegy for a dear childhood friend). These timeless poems resonate down the years.

Coal

This book offers a powerful rethinking of long-term unemployment, focusing on everyday lived experiences that reveal how unemployed men make sense of deindustrialisation and prolonged joblessness. The book foregrounds Bakhtin's theory of resisting power through humour and dialogue, challenging prevailing psychological and individualistic narratives. It instead shows how men resist dominant activation discourses by voicing metaphors that reflect their embodied experiences. Drawing on ethnographic fieldwork in a post-industrial inner city Work Club, the book combines photographs, quotations and vignettes to illuminate the loss of largely masculine employment. It offers a critical analysis of agency and discourse, with new perspectives on how unemployed men resist and cope with their circumstances in ways that are often overlooked by mainstream theories.

Bakhtin, Carnivalesque and Metaphor

Resisting Unemployment Stigma

A Psychological Exploration of Women and Gender

Women's Lives

'A revelation... Lubrin is one of the finest writers and thinkers of our time.' Maaza Mengiste

'Code Noir is storytelling at its deepest and most intimate.' Dionne Brand

* Winner of the Carol Shields Prize for Fiction 

* Finalist for the Atwood Gibson Writers' Trust Fiction Prize 

* A Globe and Mail Best Book of 2024&nbsp;

***

A dazzling political tour de force from multi-award-winning author Canisia Lubrin

The original Code Noir was an infamous set of fifty-nine decrees passed by King Louis XIV. The Code enforced strict rules governing the lives of slaves in the French colonies for over a hundred years. Canisia Lubrin's stunning debut brings together fifty-nine linked fictions, riffing on the historical to take an electrifying new look at the present day.

Interspersed with original black-and-white drawings by acclaimed visual artist Torkwase Dyson, this inventive, shape-shifting braid of narratives ranges from contemporary reality to unexpected dystopia, futuristic fantasy to historical adventure. Linked by the determination of individuals to look beyond official decrees, beyond the ruins of the past, and to create meaning&nbsp;- and freedom&nbsp;- for themselves, the fictions of Code Noir combine immense literary and political force in unforgettable, multi-layered fragments.

&nbsp;

WINNER OF THE CAROL SHIELDS PRIZE FOR FICTION

Code Noir

The Legal Value of Fashion’s Past

Who Owns Fashion Heritage?

The first major biography on artist Louise Bourgeois brings the life and work of an iconic twentieth-century artist into sharp focus"The mischievous French artist comes alive in this deeply personal biography."-Chloë Ashby, Times (UK) &nbsp; Louise Bourgeois (1911-2010) was one of the most important artists of the twentieth century. She is known for a body of work that spans sculpture, painting, and printmaking but eludes any aesthetic classification. Her life and art were so intertwined that it is often difficult to tell them apart. In her own words: "Sculpture is the body. My body is the sculpture." &nbsp; Marie-Laure Bernadac's biography of Bourgeois traces the career of a great artist, her training, and her influences, as it tells the story of an exceptional woman's life. Featuring personal photographs as well as reproductions of her work, this landmark publication is the first major biography to draw on the artist's unpublished personal archives, including diaries, correspondence, and psychoanalytic writings, as well as the many interviews she gave and the reminiscences of those who knew her. Bernadac elucidates Bourgeois's friendships and rivalries with other major figures, including sculptor Louise Nevelson and Museum of Modern Art director Alfred H. Barr Jr. She also draws on Bourgeois's well-known fascination with psychoanalysis to explore the deeply autobiographical nature of her artwork. This erudite and keenly insightful biography pays tribute to the talent of the artist and the complexity of the person.

The Life of Louise Bourgeois

Knife-Woman

AUWA

"Greg Tate was my first, and in some ways truest, North Star . . . Greg was the first person who validated the art that I loved and made it intellectually viable." -Questlove, from the foreword "The velocity and volume of his exuberance, his demands, his curiosities, and, yes, his vibrant dissatisfactions pulled me to the edge of my chair." -Hanif Absurraqib, from the introduction A reissue of Pulitzer Prize winner Greg Tate's classic, out-of-print collection of essays, with a new introduction by Hanif Abdurraqib and a new foreword by Questlove. From one of the most original, creative, and provocative culture critics comes an eye-opening collection of essays and tales about American music and culture. Under the guise of writing about a single subject, Greg Tate's essays in Flyboy in the Buttermilk branch out from his usual and explore social, pop cultural, political, and economic subjects. Taking on a wide diversity of topics-from the rise of hip-hop; the art of Jean-Michel Basquiat; the music of Miles Davis, James Brown, Jimi Hendrix, Bad Brains, and many others; to the crisis of the Black intellectual and the irony of the GOP recruiting Black Americans- Tate writes in a brave and distinctive voice that is angry, joyous, anxious, and funny. In every piece of this collection, Tate offers informed insight into where America is going and why.

Flyboy in the Buttermilk

Freedom Ship is a gripping history of the enslaved African Americans who stowed away on vessels that carried them to liberty. Up to 100,000 fugitives successfully fled the horrors of bondage in the American South. Many moved northwards through a network of secret routes and safe houses known as the Underground Railroad. Thousands of others, most of them completely unknown, escaped by sea. Their dramatic accounts of whispered conspiracy and billowing sails make Freedom Ship essential and en­thralling reading. From the docks of Savannah and Charleston to Boston Harbor and beyond, Freedom Ship traces the seekers who turned their sights to the sea. Stowaways regularly arrived in Britain aboard cotton ships bound for Liverpool. Moses Roper, one of the most determined runaways in American history, travelled 350 miles through slave coun­try before boarding the Napoleon and sailing for England. He became the first self-emancipated bondsman to lecture in the cause of abolition in Britain. Legendary abolitionists Frederick Douglass and Harriet Tubman both saw the shipping lanes as paths to freedom. Marcus Rediker displays a prodigious command of ar­chival research to embark on a thrilling journey along the Atlantic seaboard, following those who risked everything in a maritime pursuit of freedom.

The Uncharted History of Escaping Slavery by Sea

Freedom Ship

Examines the discordance among the public over controversial historic monumentsand how it should be addressed, highlighting how iconoclasm is confronted through global heritage management theory.

Throughout the nineteenth and twentieth centuries, the United States and Canada rarely experienced iconoclasm, the premeditated destruction of visual symbols, because of their specific emotional or ideological content in the public square. This is changing. As North Americans continue to reject the tangible and intangible heritage of institutionalized white supremacy, iconoclasm acts are happening with greater frequency. The death of George Floyd in May 2020 hastened the demand by Americans to remove historic monuments; so much so, that protesters took matters into their own hands and pulled down statues of historical figures, not limited to the American Civil War but also associated with European colonialism before the American Revolution and during the reign of Queen Victoria in Canada.&nbsp;

For historic preservationists and conservationists, iconoclasm is now the most consequential issue in the field and will continue to be a matter of contention for the foreseeable future. Motives for enacting iconoclasm can be justified, but what are the consequences for doing so, and how, in turn, will this determine the future of our public spaces in towns and cities? More fundamentally, is the current period of iconoclasm leading us to reconsider the public square as part of the built environment? This book will be the first theory-informed work to examine the discordance among the public over controversial historic monuments in the historic landscape and how it should be addressed. It challenges architects, landscape architects, conservationists, preservationists, elected officials, and the public to reconsider the public square and whether or not civic art that memorializes is still relevant or a practice that can be reimagined. It also considers the after-effects of iconoclasm acts: How should we redesign public civic spaces after we have either destroyed or removed historic monuments? As societal values change in regard to public memorialization, how will heritage practitioners, conservationist technicians, and urban designers grapple with working in the civic realm, which may be considered antiquated but continues to exist in our cities?

The book examines how iconoclasm is confronted through global heritage management theory. During the second half of the twentieth century, UNESCO and the European Union drafted charters to protect historic monuments from acts of war and degradation. The author considers these sets of principles and other international approaches to contested and conflicted heritage in addressing racism-based heritage that is embedded in North American heritage, from theoretical, architectural, and legal perspectives. France, which first experienced iconoclasm during the Revolution, has grappled with iconoclasm throughout its modern history. Revolutionary leader Henri Grégoire even invented a noun for it: "vandalism." Through the creation of an environment removed from a historic object's context-the public museum, the Louvre-France conceived institutional iconoclasm. From the revolutions and cultural upheavals of the eighteenth and nineteenth centuries to the calamities of two world wars in the twentieth century, Europeans have developed policy and a legal framework that address iconoclasm. The book intends to examine this legal framework closely. It will inform the direction that the North American heritage field should take in order to accept that heritage changes, and must change, in response to our own needs to acknowledge multiple histories and identities in a diverse society, while simultaneously recognizing that iconoclasm is a part of how a society resolves its emotional responses to its built heritage.

Iconoclasm in the Public Square

From the author of Enemy Feminisms and Abolish the Family, an original diagnosis of femmephobia in our culture, and a vision of a life-giving femme feminism for all. 
 
To be femme is to embody a dispossessed femininity, to be freighted with freedom, to refuse to be made proper or institutionalized. To love it is to embrace love for women (be they butch or not) in the broadest sense. In Femmephilia, Sophie Lewis makes the case for the vital importance of politicized femme-ness: a feminism that is self-consciously artificial, extravagant in its erotic and political appetites, and staunchly anti-work, abolitionist, and utopian. Femme labors deserve our care, respect, and support, but instead face dismissal from masculinist antagonists and feminist allies alike. 
 
Where neoliberal women's empowerment has failed to combat the eruption of right-wing, anti-trans, and anti-feminist attacks, Lewis argues that femmephilia can help us imagine a radical future. In essays on the high femme genius of Marilyn Monroe and trans yearning in the myth of Apollo and Daphne; on octopuses and girlbosses, reluctant heterosexuals, lesbian separatists, and anti-work cats; and on a mother on strike from maternity, Femmephilia offers a new logic of liberation for all feminized people.

Love Letters to Trans Mermaids, Queer Mothers, and Marilyn Monroe

Femmephilia

The Will to Adorn

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