In his thrilling and sparkling new book, Medieval Empires and the Cultures of Competition: Literary Duels at Islamic and Christian Courts (Edinburgh University Press, 2017), Samuel England, Assistant Professor of Arabic at the University of Wisconsin-Madison, analyzes with remarkable nimbleness the interaction of literature, politics, and power in medieval imperial settings. Effortlessly traversing from Buyid Baghdad to Spain and Italy, England shows ways in which literary competition, especially in poetry, pollinated imperial visions and fissures of political sovereignty. Literature and literary duels performed in the space of the imperial court, England convincingly argues, were critical to assemblage of medieval imperial sovereignty. This finely written book will interest and delight scholars of literature, religion, politics, and history-students of Arabic will especially appreciate the copious exhibition of wonderful Arabic poetry throughout the text.

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What do werewolves, enslaved women and immortal beings have in common? And how can they shed light on contemporary questions of ableism and police brutality? In Bodyminds Reimagined: (Dis)ability, Race, and Gender in Black Women’s Speculative Fiction (Duke University Press, 2018), Sami Schalk argues that black women’s speculative fiction changes the rules of literary and textual interpretation by opening up productive spaces of conversation at the intersection of (dis)ability, race and gender. Schalk undertakes a close reading of a variety of genres of speculative fiction including science fiction and neo-slave narratives by authors such as Octavia Butler, Nalo Hopkinson and N.K. Jemisin. Her book shows the range of black women authors’ exploration and critique of marginalizing social and political structures and their visions for more just, equitable futures.

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“Is Theory Good for the Jews?” asks author Bruno Chaouat, professor of French at the University of Minnesota, in Is Theory Good for the Jews?: French Thought and the Challenge of the New Antisemitism (Liverpool University Press, 2017) . The title carries a measure of Chaouat’s characteristically ironic, self-deprecatory, yet polemical tone. So, Chaouat wonders, in both winking reference to the anti-Semitic trope of Jewish tribalism and self-involvement, and at the same time in all sincerity, whether “Theory” – in particular the canon of philosophy, literature, and social thought that grew largely out of Heideggerian roots and which continues to find contemporary purchase – is able to use its own tools to deal with today’s resurgent strains of anti-Semitism.

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In a remarkable new book, Daniel Heath Justice, an author and professor of First Nations and Indigenous Studies and English at the University of British Columbia, makes an argument for the vitality of Indigenous literatures and their ability to help make sense of our world. Why Indigenous Literatures Matter (Wilfrid Laurier University Press, 2018) is one-part literary exegesis, one-part memoir, and many parts radical text which calls for, among other things, broader human and non-human kinship, and the use of indigenous literatures to push back against settler colonial forms of erasure and oppression. Justice explores the vibrant universe of over two hundred years of literatures (written and non-written alike), from autobiography to spoken word poetry, to fantasy and wonderworks, in order to make the case that yes, of course indigenous literatures matter; they do so because indigenous people matter. Why Indigenous Literatures Matter thus acts as both indigenous literary bibliography and call to action to people of indigenous and non-indigenous backgrounds to read up and take notice of indigenous people speaking back to colonial power structures.

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Wojtek Sawa‘s The Wall Speaks: Voices of the Unheard (National Center of Culture, 2016) is a bilingual Polish-English project that engages with the intricacies of remembering and forgetting as part of the individual’s personal history, which appears to challenge and collaborate with documented histories. Evolving out of personal memories, The Wall Speaks seeks to illuminate how the individual responds to overwhelming changes that shape and modify not only personal experiences but also collective memories. Although the emphasis is put on specific traumatic events—the core of the narrative constitutes stories of the Polish survivors who lived through World War II—this project reaches to individuals and communities which find themselves in a marginalized condition. The Wall Speaks is about Polish children and teenagers of World War II. It is also about people today who are prohibited from speaking with a voice of their own and are treated as less than fully human.” The personal stories/histories that Sawa assembles contribute to the re-arrangement of historical linearity, as well as to the formation of labyrinth-like connections between generations across time and space.

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W. G. Sebald, one of the most prominent German-speaking authors of the late 20th century, has been discussed in German literary studies again and again. Nonetheless, many questions about him and his work remain open. In her dissertation Post-Catastrophic Poetics (Post-Katastrophische Poetik [Wilhelm Fink, 2016]), Luisa Banki, postdoc at the University of Wuppertal, challenges common assumptions about Sebald. By putting him in comparison with Walter Benjamin, she argues that Sebald’s narrator is driven by what she calls “paranoia,” which basically means he sees all sorts of connections and meanings in everything whether they are there or not. According to Banki, Sebald’s texts are not only structured by melancholia – as the majority of interpreters claim – but also by this intense, imaginative watchfulness.

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Though he never enjoyed the publishing success and fame of such friends as Sherwood Anderson and Ernest Hemingway, Lewis Galantière made a considerable contribution to literature over the course of the twentieth century. In Galantière: The Lost Generation’s Forgotten Man (Overlook Press, 2018), Mark I. Lurie describes the life and career of a dedicated man of letters. The precocious son of Jewish immigrants from Russia, Galantière’s education was constrained by his family’s impoverished economic circumstances. Yet Galantière benefited from being at the right place at the right time, first in Chicago during the heyday of the “Chicago Renaissance,” then in Paris in the 1920s, where his work as a columnist and translator earned him a place among the expatriate American writers in the city. Returning to America just before the Great Depression, he began a literary partnership with John Houseman that helped start Houseman’s decades-long career in theater. The two reunited during the Second World War at the Office of War Information, for which Galantière organized radio broadcasts into occupied France. Galantière’s work in radio continued during the Cold War as a producer for Radio Free Europe, after which he returned to the literary to become president of American PEN and organize the first PEN International Congress ever held in the United States.

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In Stefan Zweig und der Europa-Gedanke (Königshausen & Neumann, 2017), Stephan Resch analyzes the Austrian author’s relationship with Europe and the concept of pacifism. To date Stephan Zweig is a contentious figure, especially when it comes to his political activism. In the opinion of many, he did not go far enough in his political work, while others criticize his autobiographical work as euphemistic. Reason enough for Stephan Resch, Senior Lecturer for German Studies at the University of Auckland, to take a deeper look into Stefan Zweig’s work.

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Follow-up interviews are always fun. Listen to my follow-up interview with Dahlia Schweitzer, author of Going Viral: Zombies, Viruses, and the End of the World (Rutgers University Press, 2018). I talk with her and Rob Thomas, the creator of Veronica Mars and the co-creator of iZombie and Party Down as well as the author of several young adult novels including Rats Saw God and Slave Day. In this interview we talk about how Schweitzer’s book discusses some of the ways in which Thomas’ series iZombie is ahead of its time, while Thomas shares some of the stories behind co-creating and writing iZombie. In addition, we discuss Thomas’ work on Veronica Mars, how the series came to be, as well as the ways in which it relates to Schweitzer’s new book. It’s a great interview for zombie lovers and marshmallows alike.

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Mark Rifkin’s Beyond Settler Time: Temporal Sovereignty and Indigenous Self-Determination (Duke University Press, 2017) engages fields including physics, phenomenology, native storytelling, and queer temporality. He describes the organization of Beyond Settler Time as “a series of meditations on particular kinds of temporal tensions—ways that Indigenous forms of time push against the imperatives of settler sovereignty” (ix). Exploring a range of sources including film, government documents, fiction, histories, and autobiography, Rifkin considers how time is defined by non-native ideologies.

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