Fiction. Poetry. California Interest. It's California in 1983. A woman pulls an IV out of her arm, walks out of the hospital and starts driving north. She is bleeding and nauseous. There is something in the trunk of her Datsun and it's rotting. FUGITIVE ASSEMBLAGE is lyric noir pieced together from remnant words and the blind turns of Highway 1. This haunted and haunting novel renders sensation through images and evokes grief in a dis/harmony of ghostly voices conjured from geology texts, poetry, family history, personal trauma and from women's diaries of the "westward journey."

Ecologists are aware of the importance of natural dynamics in ecosystems. Historically, the focus has been on the development in succession of equilibrium communities, which has generated an understanding of the composition and functioning of ecosystems. Recently, many have focused on the processes of disturbances and the evolutionary significance of such events. This shifted emphasis has inspired studies in diverse systems. The phrase "patch dynamics" (Thompson, 1978) describes their common focus. The Ecology of Natural Disturbance and Patch Dynamics brings together the findings and ideas of those studying varied systems, presenting a synthesis of diverse individual contributions.

White contends that Western democracies face novel challenges demanding our reexamination of the role of citizens. He argues that the intense focus in the past three decades on finding general principles of justice for diversity-rich societies needs to be complemented by an exploration of an ethos to adequately sustain any such principles.

Tilting the English Renaissance against the present moment, The Melancholy Assemblage examines how the interpretive experience of emotion produces social bonds. Placing readings of early modern painting and literature in conversation with psychoanalytic theory and assemblage theory, this book argues that, far from isolating its sufferers, melancholy brings people together.

Honorable Mention, 2019 MLA Prize for a First Book Sole Finalist Mention for the 2018 Lora Romero First Book Prize, presented by the American Studies Association Exposes the influential work of a group of black artists to confront and refute scientific racism. Traversing the archives of early African American literature, performance, and visual culture, Britt Rusert uncovers the dynamic experiments of a group of black writers, artists, and performers. Fugitive Science chronicles a little-known story about race and science in America. While the history of scientific racism in the nineteenth century has been well-documented, there was also a counter-movement of African Americans who worked to refute its claims. Far from rejecting science, these figures were careful readers of antebellum science who linked diverse fields—from astronomy to physiology—to both on-the-ground activism and more speculative forms of knowledge creation. Routinely excluded from institutions of scientific learning and training, they transformed cultural spaces like the page, the stage, the parlor, and even the pulpit into laboratories of knowledge and experimentation. From the recovery of neglected figures like Robert Benjamin Lewis, Hosea Easton, and Sarah Mapps Douglass, to new accounts of Martin Delany, Henry Box Brown, and Frederick Douglass, Fugitive Science makes natural science central to how we understand the origins and development of African American literature and culture. This distinct and pioneering book will spark interest from anyone wishing to learn more on race and society.

The concept of assemblage has emerged in recent decades as a central tool for describing, analysing, and transforming dynamic systems in a variety of disciplines. Coined by Deleuze and Guattari in relation to different fields of knowledge, human practices, and nonhuman arrangements, “assemblage” is variously applied today in the arts, philosophy, and human and social sciences, forming links not only between disciplines but also between critical thought and artistic practice. Machinic Assemblages focuses on the concept’s uses, transpositions, and appropriations in the arts, bringing together the voices of artists and philosophers that have been working on and with this topic for many years with those of emerging scholar-practitioners. The volume embraces exciting new and reconceived artistic practices that discuss and challenge existing assemblages, propose new practices within given assemblages, and seek to invent totally unprecedented assemblages.