Author: Marshall Poe

If we listen to the politicians and pundits, college campuses have become fiercely ideological spaces where students unthinkingly endorse a liberal orthodoxy and forcibly silence anyone who dares to disagree. These commentators lament the demise of free speech and academic freedom. But what is really happening on college campuses?

Campus Misinformation: The Real Threat to Free Speech in American Higher Education (Oxford UP, 2022) shows how misinformation about colleges and universities has proliferated in recent years, with potentially dangerous results. Popular but highly misleading claims about a so-called free speech crisis and a lack of intellectual diversity on college campuses emerged in the mid-2010s and continue to shape public discourse about higher education across party lines. Such disingenuous claims impede constructive deliberation about higher learning while normalizing suspect ideas about First Amendment freedoms and democratic participation.

Taking a non-partisan approach, Bradford Vivian argues that reporting on campus culture has grossly exaggerated the importance and representativeness of a small number of isolated events; misleadingly advocated for an artificial parity between liberals and conservatives as true viewpoint diversity; mischaracterized the use of trigger warnings and safe spaces; and purposefully confused critique and protest with censorship and "cancel culture." Organizations and think tanks generate pseudoscientific data to support this discourse, then advocate for free speech in highly specific ways that actually limit speech in general. In the name of free speech and viewpoint diversity, we now see restrictions on the right to protest and laws banning certain books, theories, and subjects from schools.

By deconstructing the political and rhetorical development of the free speech crisis, Vivian not only provides a powerful corrective to contemporary views of higher education, but provides a blueprint for readers to identify and challenge misleading language--and to understand the true threats to our freedoms.

Bradford Vivian is Professor of Communication Arts and Sciences and past Director of the Center for Democratic Deliberation at Penn State University. His previous books include Commonplace Witnessing: Rhetorical Invention, Historical Remembrance, and Public Culture (OUP 2017) and Public Forgetting: The Rhetoric and Politics of Beginning Again (2010), which received the Winans-Wichelns Award for Distinguished Scholarship in Rhetoric and Public Address awarded by the National Communication Association.

Tom Discenna is Professor of Communication at Oakland University whose work examines issues of academic labor and communicative labor more broadly.

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Who's Black and Why?: A Hidden Chapter from the Eighteenth-Century Invention of Race (Harvard University Press, 2022) is the first translation and publication of sixteen submissions to the notorious eighteenth-century Bordeaux essay contest on the cause of black skin. In 1739 Bordeaux's Royal Academy of Sciences announced a contest for the best essay on the sources of "blackness." The authors ranged from naturalists to physicians, theologians to amateur savants. Documented on each page are European ideas about who is Black and why. 

Looming behind these essays is the fact that some four million Africans had been kidnapped and shipped across the Atlantic by the time the contest was announced. The essays themselves represent a broad range of opinions. Some affirm that Africans had fallen from God's grace; others that blackness had resulted from a brutal climate; still others emphasized the anatomical specificity of Africans. All the submissions nonetheless circulate around a common theme: the search for a scientific understanding of the new concept of race. More importantly, they provide an indispensable record of the Enlightenment-era thinking that normalized the sale and enslavement of Black human beings. Translated into English and accompanied by a detailed introduction and headnotes written by Henry Louis Gates, Jr., and Andrew Curran, each essay included in this volume lays bare the origins of anti-Black racism and colorism in the West.

Andrew S. Curran is the William Armstrong Professor of the Humanities at Wesleyan University.

Henry Louis Gates, Jr is the Alphonse Fletcher University Professor and Director of the Hutchins Center for African and African American Research at Harvard University.

Caleb Zakarin is the Assistant Editor of the New Books Network

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In The Politics of the Marvel Cinematic Universe (UP of Kansas, 2022), Drs. Nicholas Carnes and Lilly J. Goren ask what lessons does Marvel – a “hulking, hegemonic media franchise” teach the public? What might we learn about ourselves and our understanding of the world from this “cinematic juggernaut?”

Popular texts encourage audiences to imagine worlds different from their own. Questioning their current political worlds is at the heart of speculative fiction. The Marvel Cinematic Universe is a “cultural leviathan” with numerous interconnected movies, streaming series on Disney+, and an increasingly diverse cast of superheroes. The Politics of the Marvel Cinematic Universe brings together over 25 scholars with diverse specialties and methodologies to analyze how the MCU narrates, reproduces, mirrors, and impacts political and social ideas. Dr. Carnes and Dr. Goren break the book into three main parts focusing on political origin stories, use and abuse of political power and evolving diversity in the bodies of the heroes, villains, and victims. The contributors interrogate how the MCU engages – and affects – political society using language accessible to MCU fans and providing contributions to research in various subfields of political science. They conclude that “Entertaiment media is itself a site where politically relevant messages are sent and received – pop culture is itself an arena of contemporary politics.”

Nicholas Carnes is Professor of Public Policy and Sociology at Duke University. His publications include The Cash Ceiling: Why Only the Rich Run for Office—And What We Can Do About It (Princeton University Press, 2018) and White-Collar Government: The Hidden Role of Class in Economic Policy Making (University of Chicago Press, 2013).

Lilly J. Goren is a Professor of Political Science and Global Studies at Carroll University and co-host of New Books in Political Science. Her publications include co-editing Mad Men and Politics: Nostalgia and the Remaking of Modern America (Bloomsbury Publishers, 2015) and Women and the White House: Gender, Popular Culture, and Presidential Politics (University Press of Kentucky, 2012).

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During the first months of the pandemic, governments worldwide agreed that ‘following the science’ with hard lockdowns and vaccine mandates was the best way to preserve life. But evidence is mounting that ‘the science’ was all politics and time reveals the horrific human and economic cost of these policies.

The Covid Consensus: The Global Assault on Democracy and the Poor—A Critique from the Left (Hurst, 2023) provides an internationalist-left perspective on the world’s Covid-19 response, which has had devastating consequences for democratic rights and the poor worldwide. As the fortunes of the richest soared, nationwide shutdowns devastated small businesses, the working classes, and the Global South’s informal economies.

Toby Green and Thomas Fazi argue that these policies grossly exacerbated existing trends of inequality, mediatisation and surveillance, with grave implications for the future. Rich in human detail, The Covid Consensus tackles head-on the refusal of the global political class and mainstream media to report the true extent of the erosion of democratic processes and the socioeconomic assault on the poor.

Toby Green and Thomas Fazi speak to Pierre d’Alancaisez about the emergence of a global consensus, the abject failure of the left to hold power to account, and the sometimes fine line between critique and conspiracy theorising.

Richard Seymour’s critique of the book on Politics, Theory, Other.

Toby Green is Professor of African History at King’s College London, and author of A Fistful of Shells and The Rise of the Trans-Atlantic Slave Trade in Western Africa.

Thomas Fazi is the author and co-author of several books on economic and political issues, including Reclaiming the State. His article with Toby Green for UnHerd, The Left’s Covid Failure, was translated into ten languages. He is a regular contributor to Compact.

Pierre d’Alancaisez is a contemporary art curator, cultural strategist, researcher. Sometime scientist, financial services professional.

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Dress codes are as old as clothing itself. For centuries, clothing has been a wearable status symbol; fashion, a weapon in struggles for social change; and dress codes, a way to maintain political control. Dress codes evolved along with the social and political ideals of the day, but they always reflected struggles for power and status. In the 1700s, South Carolina’s “Negro Act” made it illegal for Black people to dress “above their condition.” In the 1920s, the bobbed hair and form-fitting dresses worn by free-spirited flappers were banned in workplaces throughout the United States.

Even in today’s more informal world, dress codes still determine what we wear, when we wear it—and what our clothing means. People lose their jobs for wearing braided hair, long fingernails, large earrings, beards, and tattoos or refusing to wear a suit and tie or make-up and high heels. In some cities, wearing sagging pants is a crime.

In Dress Codes: How the Laws of Fashion Made History (Simon & Schuster, 2021), law professor and cultural critic Dr. Richard Thompson Ford presents a history of the laws of fashion from the middle ages to the present day, a walk down history’s red carpet to uncover and examine the canons, mores, and customs of clothing—rules that we often take for granted. After reading Dress Codes, you’ll never think of fashion as superficial again—and getting dressed will never be the same.

This interview was conducted by Dr. Miranda Melcher whose doctoral work focused on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars.

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Beginning in the 1920s, audiences around the globe were seduced not only by Hollywood films but also by lavish movie theaters that were owned and operated by the major American film companies. These theaters aimed to provide a quintessentially “American” experience. Outfitted with American technology and accoutrements, they allowed local audiences to watch American films in an American-owned cinema in a distinctly American way.

In a history that stretches from Buenos Aires and Tokyo to Johannesburg and Cairo, Ross Melnick considers these movie houses as cultural embassies. He examines how the exhibition of Hollywood films became a constant flow of political and consumerist messaging, selling American ideas, products, and power, especially during fractious eras. Melnick demonstrates that while Hollywood’s marketing of luxury and consumption often struck a chord with local audiences, it was also frequently tone-deaf to new social, cultural, racial, and political movements. He argues that the story of Hollywood’s global cinemas is not a simple narrative of cultural and industrial indoctrination and colonization. Instead, it is one of negotiation, booms and busts, successes and failures, adoptions and rejections, and a precursor to later conflicts over the spread of American consumer culture. A truly global account, Hollywood's Embassies: How Movie Theaters Projected American Power Around the World (Columbia UP, 2022) shows how the entanglement of worldwide movie theaters with American empire offers a new way of understanding film history and the history of U.S. soft power.

Ross Melnick is professor of film and media studies at the University of California, Santa Barbara. He is the author of American Showman: Samuel “Roxy” Rothafel and the Birth of the Entertainment Industry, 1908–1935 (Columbia, 2012) and co-editor of Rediscovering U.S. Newsfilm: Cinema, Television, and the Archive (2018).

Morteza Hajizadeh is a Ph.D. graduate in English from the University of Auckland in New Zealand. His research interests are Cultural Studies; Critical Theory; Environmental History; Medieval (Intellectual) History; Gothic Studies; 18th and 19th Century British Literature. YouTube channel.

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Many of us–who maybe aren’t historians–have an image of the Silk Road: merchants who carried silk from China to as far as ancient Rome, in one of the first global trading networks. Historians have since challenged the idea that there really was such an organized network, instead seeing it as a nineteenth-century metaphor that obscures as much as it explains.

But Xin Wen, the author of The King’s Road: Diplomacy and the Remaking of the Silk Road (Princeton University Press, 2023), tries to revive the idea that there really was a “Silk Road,” at least for the people of Dunhuang, in what is now China’s Gansu Province. His book explains that there really were convoys traveling back-and-forth along an established route–though they likely saw themselves as diplomats more than merchants.

“People in Dunhuang, of course, did not not exactly call the road that connected them with their neighbors the “Silk Road.” Nevertheless, had they been asked about it, they likely would have found the phrase entirely intelligible, even meaningful,” he writes.

Xin Wen is assistant professor of East Asian studies and history at Princeton University. His research interests in medieval China also include manuscript culture, urban history, and digital humanities.

Today, Xin Wen and I talk about the Silk Road, the Dunhuang Archive, and the risks of orienting too much of the history of Central and East Asia around China.

You can find more reviews, excerpts, interviews, and essays at The Asian Review of Books, including its review of The King’s Road. Follow on Twitter at @BookReviewsAsia.

Nicholas Gordon is an associate editor for a global magazine, and a reviewer for the Asian Review of Books. He can be found on Twitter at @nickrigordon.

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The play element at the heart of our interactions with computers—and how it drives the best and the worst manifestations of the information age.

Whether we interact with video games or spreadsheets or social media, playing with software shapes every facet of our lives. In Playing Software: Homo Ludens in Computational Culture (MIT Press, 2023), Miguel Sicart delves into why we play with computers, how that play shapes culture and society, and the threat posed by malefactors using play to weaponize everything from conspiracy theories to extractive capitalism. Starting from the controversial idea that software is an essential agent in the information age, Sicart considers our culture in general—and our way of thinking about and creating digital technology in particular—as a consequence of interacting with software's agency through play.

As Sicart shows, playing shapes software agency. In turn, software shapes our agency as we adapt and relate to it through play. That play drives the creation of new cultural, social, and political forms. Sicart also reveals the role of make-believe in driving our playful engagement with the digital sphere. From there, he discusses the cybernetic theory of digital play and what we can learn from combining it with the idea that playfulness can mean pleasurable interaction with human and nonhuman agents inside the boundaries of a computational system. Finally, he critiques the instrumentalization of play as a tool wielded by platform capitalism.

Rudolf Inderst is a professor of Game Design with a focus on Digital Game Studies at the IU International University of Applied Science, editor of “Game Studies Watchlist”, a weekly messenger newsletter about Game Culture and curator of @gamestudies at tiktok.

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In her latest book, Fearless Women: Feminist Patriots from Abigail Adams to Beyoncé (Harvard University Press, 2023), New York Times bestselling author Elizabeth Cobbs shows us that the quest for women’s rights is deeply entwined with the founding story of the United States.

When America became a nation, a woman had no legal existence beyond her husband. If he abused her, she couldn’t leave without abandoning her children. Abigail Adams tried to change this, reminding her husband John to “remember the ladies” when he wrote the Constitution. He simply laughed—and women have been fighting for their rights ever since.

Fearless Women tells the story of women who dared to take destiny into their own hands. They were feminists and antifeminists, activists and homemakers, victims of abuse and pathbreaking professionals. Inspired by the nation’s ideals and fueled by an unshakeable sense of right and wrong, they wouldn’t take no for an answer. In time, they carried the country with them.

The first right they won was the right to learn. Later, impassioned teachers like Angelina Grimké and Susan B. Anthony campaigned for the right to speak in public, lobby the government, and own property. Some were passionate abolitionists. Others fought just to protect their own children.

Many of these women devoted their lives to the cause—some are famous—but most pressed their demands far from the spotlight, insisting on their right to vote, sit on a jury, control the timing of their pregnancies, enjoy equal partnerships, or earn a living. At every step, they faced fierce opposition. Elizabeth Cobbs gives voice to fearless women on both sides of the aisle, most of whom considered themselves patriots. Rich and poor, from all backgrounds and regions, they show that the women’s movement has never been an exclusive club.

Rebekah Buchanan is a Professor of English and Director of English Education at Western Illinois University. Her research focuses on feminism, activism, and literacy practices in youth culture, specifically through zines and music.

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