This book is an interdisciplinary study of antebellum American literature and the problem of political emergency. Arguing that the United States endured sustained conflicts over the nature and operation of sovereignty in the unsettled era from the Founding to the Civil War, the book presents two forms of governance: local and regional control, and national governance. The period’s states of exception arose from these clashing imperatives, creating contests over land, finance, and, above all, slavery, that drove national politics. Extensively employing the political and cultural insights of Walter Benjamin, this book surveys antebellum American writers to understand how they situated themselves and their work in relation to these episodes, specifically focusing on the experience of violence. Exploring the work of Edgar Allan Poe, ex-slave narrators like Moses Roper and Henry Bibb, Herman Melville and Emily Dickinson, the book applies some central aspects of Walter Benjamin’s literary and cultural criticism to the deep investment in pain in antebellum politics and culture.

This ethnography of violence in Jamaica repudiates cultural explanations for violence, arguing that its roots lie in deep racialized and gendered inequalities produced in imperial slave economies.

Accompanying an exhibition curated by artists Ginsburg and Hughes, this book brings together artwork and writing by torture survivors, artists, and scholars. Since 2009, Chicago-based artists Amber Ginsburg and Aaron Hughes have collaborated on the "Tea Project," an ongoing series of tea ceremony performances and installations inspired by the elaborate etchings made on Styrofoam teacups by detainees at Guantanamo Bay. Produced to accompany the 2022 exhibition curated by Ginsburg and Hughes at DePaul Art Museum, Remaking the Exceptional: Tracing Torture, Justice, and Reparations brings together artworks by former and current detainees from Chicago and abroad, new works by contemporary artists and collectives, and texts by leading scholars working at the intersection of aesthetics and politics.

In the popular misconception fostered by blockbuster action movies and best-selling thrillers--not to mention conventional explanations by social scientists--violence is easy under certain conditions, like poverty, racial or ideological hatreds, or family pathologies. Randall Collins challenges this view in Violence, arguing that violent confrontation goes against human physiological hardwiring. It is the exception, not the rule--regardless of the underlying conditions or motivations. Collins gives a comprehensive explanation of violence and its dynamics, drawing upon video footage, cutting-edge forensics, and ethnography to examine violent situations up close as they actually happen--and his conclusions will surprise you. Violence comes neither easily nor automatically. Antagonists are by nature tense and fearful, and their confrontational anxieties put up a powerful emotional barrier against violence. Collins guides readers into the very real and disturbing worlds of human discord--from domestic abuse and schoolyard bullying to muggings, violent sports, and armed conflicts. He reveals how the fog of war pervades all violent encounters, limiting people mostly to bluster and bluff, and making violence, when it does occur, largely incompetent, often injuring someone other than its intended target. Collins shows how violence can be triggered only when pathways around this emotional barrier are presented. He explains why violence typically comes in the form of atrocities against the weak, ritualized exhibitions before audiences, or clandestine acts of terrorism and murder--and why a small number of individuals are competent at violence. Violence overturns standard views about the root causes of violence and offers solutions for confronting it in the future.

Exemplary Violence: Rewriting History in Colonial Colombia examines three seventeenth-century historical accounts of the New Kingdom of Granada (modern-day Colombia and Venezuela) that outline ideal civic and administrative practice, running counter to colonial realities. Their authors attempt to regulate behavior through instruction to the colonizing elite, ultimately unmasking the ambiguities and constant violence of the colonizers' ideological project.

In this ambitious book that ranges across the Great Basin, Blackhawk places Native peoples at the center of a dynamic story as he chronicles two centuries of Indian and imperial history that shaped the American West. This book is a passionate reminder of the high costs that the making of American history occasioned for many indigenous peoples.

In Curative Violence Eunjung Kim examines what the social and material investment in curing illnesses and disabilities tells us about the relationship between disability and Korean nationalism. Kim uses the concept of curative violence to question the representation of cure as a universal good and to understand how nonmedical and medical cures come with violent effects that are not only symbolic but also physical. Writing disability theory in a transnational context, Kim tracks the shifts from the 1930s to the present in the ways that disabled bodies and narratives of cure have been represented in Korean folktales, novels, visual culture, media accounts, policies, and activism. Whether analyzing eugenics, the management of Hansen's disease, discourses on disabled people's sexuality, violence against disabled women, or rethinking the use of disabled people as a metaphor for life under Japanese colonial rule or under the U.S. military occupation, Kim shows how the possibility of life with disability that is free from violence depends on the creation of a space and time where cure is seen as a negotiation rather than a necessity.