Explores the how, why, and what of contemporary Chicanx culture, including punk rock, literary fiction, photography, mass graves, and digital and experimental installation art Racial Immanence attempts to unravel a Gordian knot at the center of the study of race and discourse: it seeks to loosen the constraints that the politics of racial representation put on interpretive methods and on our understanding of race itself. Marissa K. López argues that reading Chicanx literary and cultural texts primarily for the ways they represent Chicanxness only reinscribes the very racial logic that such texts ostensibly set out to undo. Racial Immanence proposes to read differently; instead of focusing on representation, it asks what Chicanx texts do, what they produce in the world, and specifically how they produce access to the ineffable but material experience of race. Intrigued by the attention to disease, disability, abjection, and sense experience that she sees increasing in Chicanx visual, literary, and performing arts in the late-twentieth century, López explores how and why artists use the body in contemporary Chicanx cultural production. Racial Immanence takes up works by writers like Dagoberto Gilb, Cecile Pineda, and Gil Cuadros, the photographers Ken Gonzales Day and Stefan Ruiz, and the band Piñata Protest to argue that the body offers a unique site for pushing back against identity politics. In so doing, the book challenges theoretical conversations around affect and the post-human and asks what it means to truly consider people of color as writersand artists. Moving beyond abjection, López models Chicanx cultural production as a way of fostering networks of connection that deepen our attachments to the material world.

During the first generation of black participation in U.S. diplomacy in the late nineteenth and early twentieth centuries, a vibrant community of African American writers and cultural figures worked as U.S. representatives abroad. Through the literary and diplomatic dossiers of figures such as Frederick Douglass, James Weldon Johnson, Archibald and Angelina Grimké, W. E. B. Du Bois, Ida Gibbs Hunt, and Richard Wright, Brian Roberts shows how the intersection of black aesthetic trends and U.S. political culture both Americanized and internationalized the trope of the New Negro. This decades-long relationship began during the days of Reconstruction, and it flourished as U.S. presidents courted and rewarded their black voting constituencies by appointing black men as consuls and ministers to such locales as Liberia, Haiti, Madagascar, and Venezuela. These appointments changed the complexion of U.S. interactions with nations and colonies of color; in turn, state-sponsored black travel gave rise to literary works that imported international representation into New Negro discourse on aesthetics, race, and African American culture. Beyond offering a narrative of the formative dialogue between black transnationalism and U.S. international diplomacy, Artistic Ambassadors also illuminates a broader literary culture that reached both black and white America as well as the black diaspora and the wider world of people of color. In light of the U.S. appointments of its first two black secretaries of state and the election of its first black president, this complex representational legacy has continued relevance to our understanding of current American internationalism.

Robo Sacer engages the digital humanities, critical race theory, border studies, biopolitical theory, and necropolitical theory to interrogate how technology has been used to oppress people of Mexican descent—both within Mexico and in the United States—since the advent of the North American Free Trade Agreement (NAFTA) in 1994. As the book argues, robo-sacer identity emerges as transnational flows of bodies, capital, and technology become an institutionalized state of exception that relegates people from marginalized communities to the periphery. And yet the same technology can be utilized by the oppressed in the service of resistance. The texts studied here represent speculative stories about this technological empowerment. These texts theorize different means of techno-resistance to key realities that have emerged within Mexican and Chicano/a/x communities under the rise and reign of neoliberalism. The first three chapters deal with dehumanization, the trafficking of death, and unbalanced access to technology. The final two chapters deal with the major forms of violence—feminicide and drug-related violence—that have grown exponentially in Mexico with the rise of neoliberalism. These stories theorize the role of technology both in oppressing and in providing the subaltern with necessary tools for resistance. Robo Sacer builds on the previous studies of Sayak Valencia, Irmgard Emmelhainz, Guy Emerson, Achille Mbembe, and of course Giorgio Agamben, but it differentiates itself from them through its theorization on how technology—and particularly cyborg subjectivity—can amend the reigning biopolitical and necropolitical structures of power in potentially liberatory ways. Robo Sacer shows how the cyborg can denaturalize constructs of zoē by providing an outlet through which the oppressed can tell their stories, thus imbuing the oppressed with the power to combat imperialist forces.

The Prometheus myth, for several reasons became a crucial site for conceptualizing human liberation in the immanent space of a finite globe structured by white domination and black slavery. The titan's defiant theft of fire from the regnant gods was translated through a high-stakes racial coding either as an 'African' revolt against the cosmic status quo that augured a pure autonomy, a black revolutionary immanence against which idealist philosophers like Hegel defined their projects and slaveholders defended their lives and positions. Or as a 'Caucasian' reflection of the divine power evidently working in favor of Euro-Christian civilization that transmuted the naked egoism of conquest into a righteous heteronomy-Euro-Christian civilization's mobilization by the Absolute or its internalization of a transcendent principle of universal Reason.

Romantic Immanence examines literary examples of an alternative experience of otherness—an experience of alterity the Romantics understood as an embodied, immanent encounter with raw reality. The Romantics' enthusiasm for encounters in nature and the imagination that exceeded the limits of rational thought is well known. Yet these encounters have largely been interpreted in terms of the sublime or the Gothic. Drawing attention to the influence of Spinozist and Stoic philosophy on Romantic thought and aesthetics, Elizabeth A. Fay argues that immanence was another, perhaps even more important, form of alterity, particularly during this era of social and political upheaval. Investigating works such as Coleridge's Rime of the Ancient Mariner, Dorothy Wordsworth's Grasmere Journals, and Percy Shelley's Triumph of Life alongside Schelling's unfinished Ages of the World and Schlegel's Athenaeum Fragments, Fay demonstrates how Romantic immanence, despite going largely unrecognized with the loss of its initial context, remains vividly present in these works.

Frantz Fanon may be most known for his more obviously political writings, but in the first instance, he was a clinician, a black Caribbean psychiatrist who had the improbable task of treating disturbed and traumatized North African patients during the wars of decolonization. Investigating and foregrounding the clinical system that Fanon devised in an attempt to intervene against negrophobia and anti-blackness, this book rereads his clinical and political work together, arguing that the two are mutually imbricated. For the first time, Fanon's therapeutic innovations are considered along with his more overtly political and cultural writings to ask how the crises of war affected his practice, informed his politics, and shaped his subsequent ideas. As David Marriott suggests, this combination of the clinical and political involves a psychopolitics that is, by definition, complex, difficult, and perpetually challenging. He details this psychopolitics from two points of view, focusing first on Fanon's sociotherapy, its diagnostic methods and concepts, and second, on Fanon's cultural theory more generally. In our present climate of fear and terror over black presence and the violence to which it gives rise, Whither Fanon? reminds us of Fanon's scandalous actuality and of the continued urgency of his message.

DIVBy emphasizing the specifically percussive articulation of rhythm, this study contributes to the elaboration of critical musicology by both challenging its construction of music as essentially harmonic and by extending the interpretive vocabulary of music/div