Deftly illustrating how life circumstances can influence ethnographic fieldwork, Mwenda Ntarangwi focuses on his experiences as a Kenyan anthropology student and professional anthropologist practicing in the United States and Africa. Whereas Western anthropologists often study non-Western cultures, Mwenda Ntarangwi reverses these common roles and studies the Western culture of anthropology from an outsider's viewpoint while considering larger debates about race, class, power, and the representation of the "other." Tracing his own immersion into American anthropology, Ntarangwi identifies textbooks, ethnographies, coursework, professional meetings, and feedback from colleagues and mentors that were key to his development. Reversed Gaze enters into a growing anthropological conversation on representation and self-reflexivity that ethnographers have come to regard as standard anthropological practice, opening up new dialogues in the field by allowing anthropologists to see the role played by subjective positions in shaping knowledge production and consumption. Recognizing the cultural and racial biases that shape anthropological study, this book reveals the potential for diverse participation and more democratic decision making in the identity and process of the profession.

Exploring the furthest reaches of the globe, Persian travelers from Iran and India travelled across Russian and Ottoman territories, to Asia, Africa, North and South America, Europe and beyond. Remapping the world through their travelogues, Reversing the Colonial Gaze offers a comprehensive and transformative analysis of the journeys of over a dozen of these nineteenth-century Persian travelers. By moving beyond the dominant Eurocentric perspectives on travel narratives, Hamid Dabashi works to reverse the colonial gaze which has thus far been cast upon these rich body of travelogues. His lyrical and engaging re-evaluation of these journeys, complimented by close-readings of seminal travelogues, challenges the systematic neglect of these narratives in scholarly literature. Opening up the entirety of these overlooked or abused travelogues, Dabashi reveals not a mere repetition of cliché accounts of Iranian or Muslim encounters with the West, but a path-breaking introduction to a constellation of revelatory travel narratives that re-imagine and reclaim the world beyond colonial borders.

A beautiful and compelling novel, Elif Shafak's The Gaze considers the damage which can be inflicted by our simple desire to look at others "I didn't say anything. I didn't return his smiles. I looked at him in the wide mirror in front of where I was sitting. He grew uncomfortable and avoided my eyes. I hate those who think fat people are stupid.' An obese woman and her lover, a dwarf, are sick of being stared at wherever they go, and so decide to reverse roles. The man goes out wearing make up and the woman draws a moustache on her face. But while the woman wants to hide away from the world, the man meets the stares from passers-by head on, compiling his 'Dictionary of Gazes' to explore the boundaries between appearance and reality. Intertwined with the story of a bizarre freak-show organised in Istanbul in the 1880s, The Gaze considers the damage which can be inflicted by our simple desire to look at others. "Beautifully evoked" - The Times "Original and Compelling" - TLS "Plays with ideas of beauty and ugliness like they're Rubik's cubes" - Helen Oyeyemi "Entertaining and affecting" - Publishers' Weekly Elif Shafak is the acclaimed author of The Bastard of Istanbul and The Forty Rules of Love and is the most widely read female novelist in Turkey. Her work has been translated into more than thirty languages. She is a contributor for The Telegraph, Guardian and the New York Times and her TED talk on the politics of fiction has received 500 000 viewers since July 2010. She is married with two children and divides her time between Istanbul and London.

In this theological work, readers are seated in a metaphorical balcony as a counter melody is composed within America’s operatic tradition. By using imaginary opera glasses, readers are invited to critically view American society and history. The most popular folk songs of white Southerners, Western settlers, and Northern elites were composed from chords of colonialism, white supremacy, patriarchy, hegemony, and xenophobia—forms of anthropological poverty. These songs were, and remain, the most discordant melodies heard by indigenous and enslaved persons in America. Indicting the “church” for its complicity in these oppressions, this work offers the reader a historical glimpse at the philosophical and religious underpinnings of systemic racism. A new healing hermeneutic, the balcony hermeneutic, enables the reader to view, critique, assess, correct, and reverse the devastating consequences of anthropological poverty. By taking a “reversed gaze” of traditional Western Eurocentric systems of knowledge production, through theomusicology, this work privileges the voices of indigenous scholars—philosophers, anthropologists, theologians, and performers—to sing a new song as we correct negative narratives and lyrics through resistance operatic performances.

A revelatory account of the brain's capacity for change When neuroscientist Susan Barry was fifty years old, she experienced the sense of immersion in a three dimensional world for the first time. Skyscrapers on street corners appeared to loom out toward her like the bows of giant ships. Tree branches projected upward and outward, enclosing and commanding palpable volumes of space. Leaves created intricate mosaics in 3D. Barry had been cross-eyed and stereoblind since early infancy. After half a century of perceiving her surroundings as flat and compressed, on that day she saw the city of Manhattan in stereo depth for first time in her life. As a neuroscientist, she understood just how extraordinary this transformation was, not only for herself but for the scientific understanding of the human brain. Scientists have long believed that the brain is malleable only during a "critical period" in early childhood. According to this theory, Barry's brain had organized itself when she was a baby to avoid double vision - and there was no way to rewire it as an adult. But Barry found an optometrist who prescribed a little-known program of vision therapy; after intensive training, Barry was ultimately able to accomplish what other scientists and even she herself had once considered impossible. Dubbed "Stereo Sue" by renowned neurologist Oliver Sacks, Susan Barry tells her own remarkable journey and celebrates the joyous pleasure of our senses.

Hip hop music that empowers and engages youth in East Africa

Between 1905 and 1939 a conspicuously tall white man with a shock of red hair, dressed in a silk shirt and white linen trousers, could be seen on the streets of Onitsha, in Eastern Nigeria. How was it possible for an unconventional, boy-loving Englishman to gain a social status among the local populace enjoyed by few other Europeans in colonial West Africa? In The Forger’s Tale: The Search for Odeziaku Stephanie Newell charts the story of the English novelist and poet John Moray Stuart-Young (1881–1939) as he traveled from the slums of Manchester to West Africa in order to escape the homophobic prejudices of late-Victorian society. Leaving behind a criminal record for forgery and embezzlement and his notoriety as a “spirit rapper,” Stuart-Young found a new identity as a wealthy palm oil trader and a celebrated author, known to Nigerians as “Odeziaku.” In this fascinating biographical account, Newell draws on queer theory, African gender debates, and “new imperial history” to open up a wider study of imperialism, (homo)sexuality, and nonelite culture between the 1880s and the late 1930s. The Forger’s Tale pays close attention to different forms of West African cultural production in the colonial period and to public debates about sexuality and ethics, as well as to movements in mainstream English literature.