Awards: One Book South Dakota Common Read, South Dakota Humanities Council, 2022. PEN Oakland/Josephine Miles Literary Award, PEN America, 2020. One Book One Tribe Book Award, First Nations Development Institute, 2020. Finalist, Stubbendieck Great Plains Distinguished Book Prize, 2019. Shortlist, Brooklyn Public Library Literary Prize, 2019. Our History Is the Future is at once a work of history, a personal story, and a manifesto. Now available in paperback on the fifth anniversary of its original publication, Our History Is the Future features a new afterword by Nick Estes about the rising indigenous campaigns to protect our environment from extractive industries and to shape new ways of relating to one another and the world. In this award-winning book, Estes traces traditions of Indigenous resistance leading to the present campaigns against fossil fuel pipelines, such as the Dakota Access Pipeline Protests, from the days of the Missouri River trading forts through the Indian Wars, the Pick-Sloan dams, the American Indian Movement, and the campaign for Indigenous rights at the United Nations. In 2016, a small protest encampment at the Standing Rock reservation in North Dakota, initially established to block construction of the Dakota Access oil pipeline, grew to be the largest Indigenous protest movement in the twenty-first century, attracting tens of thousands of Indigenous and non-Native allies from around the world. Its slogan “Mni Wiconi”—Water Is Life—was about more than just a pipeline. Water Protectors knew this battle for Native sovereignty had already been fought many times before, and that, even with the encampment gone, their anti-colonial struggle would continue. While a historian by trade, Estes draws on observations from the encampments and from growing up as a citizen of the Oceti Sakowin (the Nation of the Seven Council Fires) and his own family’s rich history of struggle.

What does it mean politically to construct climate change as a matter of urgency? We are certainly running out of time to stop climate change. But perhaps this particular understanding of urgency could be at the heart of the problem. When in haste, we make more mistakes, we overlook things, we get tunnel vision. Here we make the case for a ‘slow politics of urgency’. Rather than rushing and speeding up, the sustainable future is arguably better served by us challenging the dominant framings through which we understand time and change in society. Transformation to meet the climate challenge requires multiple temporalities of change, speeding up certain types of change processes but also slowing things down. While recognizing the need for certain types of urgency in climate politics, Haste directs attention to the different and alternative temporalities at play in climate and sustainability politics. It addresses several key issues on climate urgency: How do we accommodate concerns that are undermined by the politics of urgency, such as participation and justice? How do we act upon the urgency of the climate challenge without reproducing the problems that speeding up of social processes has brought? What do the slow politics of urgency look like in practice? Divided into 23 short and accessible chapters, written by both established and emerging scholars from different disciplines, Haste tackles a major problem in contemporary climate change research and offers creative perspectives on pathways out of the climate emergency.

Brilliantly funny, frank, and shattering, this is the bittersweet memoir by Peter McGough of his life with artist David McDermott. Set in New York’s Lower East Side of the 1980s and mid-1990s, it is also a devastatingly candid look at the extreme naiveté and dysfunction that would destroy both their lives. Escaping the trauma of growing up gay in Syracuse and being bullied at school, McGough attended art school in New York, dropped out, and took out jobs in clubs, where he met McDermott. Dazzled by McDermott, whom he found fascinating and worldly, McGough agreed to collaborate with him not only on their art but also in McDermott’s very entertaining Victorian lifestyle. McGough evokes the rank and seedy East Village of that time, where he encountered Keith Haring, Rene Ricard, Kenny Scharf, Jean-Michel Basquiat, Andy Warhol, and Jacqueline and Julian Schnabel, among many others. Nights were spent at the Ninth Circle, Danceteria, and Studio 54; going to openings at the FUN Gallery; or visiting friends in the Chelsea Hotel. By the mid-1980s, McDermott & McGough were hugely successful, showing at three Whitney Biennials, represented by the best galleries here and abroad, and known for their painting, photography and “time experiment” interiors. Then, overnight, it was all gone. And one day in the mid-1990s, McGough would find that he, like so many of his friends, had been diagnosed with AIDS. I’ve Seen the Future and I’m Not Going is a compelling memoir for our time, told with humor and compassion, about how lives can become completely entwined even in failure and what it costs to reemerge, phoenix-like, and carry on.

In City/Art, anthropologists, literary and cultural critics, a philosopher, and an architect explore how creative practices continually reconstruct the urban scene in Latin America. The contributors, all Latin Americanists, describe how creativity—broadly conceived to encompass urban design, museums, graffiti, film, music, literature, architecture, performance art, and more—combines with nationalist rhetoric and historical discourse to define Latin American cities. Taken together, the essays model different ways of approaching Latin America’s urban centers not only as places that inspire and house creative practices but also as ongoing collective creative endeavors themselves. The essays range from an examination of how differences of scale and point of view affect people’s experience of everyday life in Mexico City to a reflection on the transformation of a prison into a shopping mall in Uruguay, and from an analysis of Buenos Aires’s preoccupation with its own status and cultural identity to a consideration of what Miami means to Cubans in the United States. Contributors delve into the aspirations embodied in the modernist urbanism of Brasília and the work of Lotty Rosenfeld, a Santiago performance artist who addresses the intersections of art, urban landscapes, and daily life. One author assesses the political possibilities of public art through an analysis of subway-station mosaics and Julio Cortázar’s short story “Graffiti,” while others look at the representation of Buenos Aires as a “Jewish elsewhere” in twentieth-century fiction and at two different responses to urban crisis in Rio de Janeiro. The collection closes with an essay by a member of the São Paulo urban intervention group Arte/Cidade, which invades office buildings, de-industrialized sites, and other vacant areas to install collectively produced works of art. Like that group, City/Art provides original, alternative perspectives on specific urban sites so that they can be seen anew. Contributors. Hugo Achugar, Rebecca E. Biron, Nelson Brissac Peixoto, Néstor García Canclini, Adrián Gorelik, James Holston, Amy Kaminsky, Samuel Neal Lockhart, José Quiroga, Nelly Richard, Marcy Schwartz, George Yúdice

This book explores aspects of the historical and theoretical basis for temporary and transportable environments and provides an insight into the wide range of functions that they are used for today, the varied forms they take and the concerns and ideas for their future development. Themes in the book range from wide-ranging topical issues like the ecological implications of building to more focused investigations such as shelter after disaster. The book will be of interest to both students and practising architects, engineers and those involved in the creation of the built environment. It will also be of value to those involved in areas of product design, design history, building component manufacture and urban design.

We live in a world saturated by futures. Our lives are constructed around ideas and images about the future that are as full and as flawed as our understandings of the past. This book is a conceptual toolkit for thinking about the forms and functions that the future takes. Exploring links between panic and nostalgia, waiting and utopia, technology and messianism, prophecy and trauma, it brings together critical meditations on the social, cultural, and intellectual forces that create narratives and practices of the future. The prognosticators, speculators, prophets, and visionaries have their say here, but the emphasis is on small narratives and forgotten conjunctures, on the connections between expectation and experience in everyday life. In tightly linked studies, the contributors excavate forgotten and emergent futures of art, religion, technology, economics, and politics. They trace hidden histories of science fiction, futurism, and millennialism and break down barriers between far-flung cultural spheres. From the boardrooms of Silicon Valley to the forests of Java and from the literary salons of Tokyo to the roadside cafés of the Nevada desert, the authors stitch together the disparate images and stories of futures past and present. Histories of the Future is further punctuated by three interludes: a thought-provoking game that invites players to fashion future narratives of their own, a metafiction by renowned novelist Jonathan Lethem, and a remarkable graphic research tool: a timeline of timelines. Contributors. Sasha Archibald, Susan Harding, Jamer Hunt, Pamela Jackson, Susan Lepselter, Jonathan Lethem, Joseph Masco, Christopher Newfield, Elizabeth Pollman, Vicente Rafael, Daniel Rosenberg, Miryam Sas, Kathleen Stewart, Anna Tsing