The first book to explore food allergies in the United States from the perspective of disability and race Are food allergies disabilities? What structures and systems ensure the survival of some with food allergies and not others? Allergic Intimacies is a groundbreaking critical engagement with food allergies in their cultural representations, advocacy, law, and stories about personal experiences from a disability studies perspective. Author Michael Gill questions the predominantly individualized medical approaches to food allergies, pointing out that these approaches are particularly problematic where allergy testing and treatments are expensive, inconsistent, and inaccessible for many people of color. This thought-provoking book explores the multiple meanings of food allergies and eating in the United States, demonstrating how much more is at stake than we realize, at a critical time when food allergies are on the rise: An estimated 32 million Americans, including one in thirteen children, have food allergies. Diagnoses of food allergies in children have increased by 50 percent since 1997. Yet as the author makes clear, the whiteness of the food allergy community and single-identity disability theory is inherently limiting and insufficient to address the complex choices that those with food allergies make. Gill argues that racism and ableism create unique precarity for disabled people of color that food allergic communities are only beginning to address. There is a huge disparity in access to testing and treatment, with African American and Latinx children having higher risk of adverse outcomes than white children, including more rates of anaphylaxis. Food allergy professionals have a responsibility to move beyond individualized approaches to more robust coalitional efforts grounded in disability and racial justice to undo these patterns of exclusion. Allergic Intimacies celebrates the various creative ways food allergic communities are challenging historical and current practice of exclusion, while identifying the depth of work that still needs to be done to shift focus from a white allergic experience toward a more representative understanding of the racial, ethnic, religious, and economic diversity of those in the United States. Gill’s book is a discerning and vital exploration of the key debates about risks, dangers, safety, representations, and political concerns affecting the lives of individuals with food allergies.

The public healthcare system in rural India is chronically under-resourced. It embodies and often perpetuates the wider politics of the Indian state towards its rural communities with provisions of care that are deeply entangled with violence and disgust. For rural women, such care deepens reproductive chronicity while providing temporary relief. Grounded in women’s everyday realities and experiences in sterilization camps and other healthcare settings in rural Rajasthan, State Intimacies examines the mundane workings, ambiguities and fragilities of care in post-colonial rural North India.

Virtual Intimacies tells the stories of gay men, including the author, who navigate social worlds in which the boundaries between real and virtual have been thoroughly confounded. Shaka McGlotten analyzes intimate connection and disconnection across an array of media sites, including mass mediated public sex scandals, online spaces, Do-It-Yourself porn, and smartphone apps in order to show the ordinary ways people challenge and rework sexuality and technology. The book frames "virtual intimacy" in terms of the mocking disapproval that looks at using technology to connect as something shameful or as a means of last resort. However, where many see a dead end, Virtual Intimacies argues on behalf of more extensive understandings of intimacy, thereby contributing to many feminist and queer approaches that seek to expand the scope of what counts as connection, belonging, or love. The author also highlights the creative and resilient ways that queer people build social worlds using spaces and technologies in ways they were not intended.

Education is a violent act, yet this violence is concealed by its good intent. Education presents itself as a distinctly improving, enabling practice. Even its most radical critics assume that education is, at core, an incontestable social good. Setting education in its political context, this book, now in paperback, offers a history of good intentions, ranging from the birth of modern schooling and modern examination, to the rise (and fall) of meritocracy. In challenging all that is well-intentioned in education, it reveals how our educational commitments are always underwritten by violence. Our highest ideals have the lowest origins. Seeking to unsettle a settled conscience, Benign Violence: Education in and beyond the Age of Reason is designed to disturb the reader. Education constitutes us as subjects; we owe our existence to its violent inscriptions. Those who refuse or rebel against our educational present must begin by objecting to the subjects we have become.

This book works to unpack and explicate women’s personas. Drawing on global gender studies and feminist research, the author examines how ‘woman’ has been constructed socially, culturally, and politically throughout different historical periods and feminist movements. Case studies look at how women in different personal and professional settings construct, enact, and navigate their personas against a backdrop of shifting discourses on gender relations, continued patriarchal dominance, and western neoliberal capitalism. Chapters also delve into how women’s personas are constructed online through activism and community building. The author examines the diversity, flexibility, and slipperiness of the ways being a woman is experienced and strategically performed. This book will be useful for scholars and students in Gender Studies, Sociology, Psychology, and Media Studies.

A dazzling hybrid of personal memoir and criticism, considering the work of Black visual artists as a means to explore loss, legacy, and the reclamation of life through art. At the age of twenty-one, Erica Cardwell finds herself in New York City, reeling from the loss of her mother and numb to the world around her. She turns inward instead, reading books and composing poetry, eventually falling into the work of artists such as Blondell Cummings, Lorna Simpson, Lorraine O’Grady, and Kara Walker. Through them, she communes with her mother’s spirit and legacy, and finds new ways to interrogate her writing and identity. Wrong Is Not My Name weaves together autobiography, criticism, and theory, and considers how Black women create alternative, queer, and “hysterical” lives through visual culture and performance. In poetic, interdisciplinary essays—combining analytical and lyrical stream-of-consciousness—Cardwell examines archetypes such as the lascivious Jezebel, the caretaking Mammy, and the elusive Sapphire to formulate new and inventive ways to write about art. Pioneering and inquisitive, Wrong Is Not My Name celebrates Black womanhood, and illuminates the ways in which art and storytelling reside at the core of being human.