vanderbilt

UNIVERSITY PRESS

Spring & Summer 2018

 Below: “What Does the Public Want?” Complete Catalog of
1924 Records, Paramount—The “Popular Race Record”—and
Black Swan Race Records, featuring a photograph inset of
J. Mayo Williams, Paramount’s “Recording Manager of Race
Artist Series.” Courtesy of the Southern Folklife Collection,
Wilson Library, University of North Carolina at Chapel Hill.
New Title
Subject Index
African Studies . . . . . . . . . . . . .8
Anthropology . . . . . . . . . . . . 6, 7
Art History . . . . . . . . . . . . . . . . 8
Asian Studies . . . . . . . . . . . . . . .7
Blues . . . . . . . . . . . . . . . . . . . .1
Civil Rights . . . . . . . . . . . . . . 2, 3
Country Music . . . . . . . . . . . . . .1 Above: Gennett recording engineer Harold Soulé and Grace
European History . . . . . . . . . . . 5 Slovetsky, secretary of the Northwestern Phonograph Supply
Company, examining the equipment used at a 1927 field
Film Studies . . . . . . . . . . . . . . .4
­session in St. Paul, Minnesota. Courtesy of the Minnesota
Global Health . . . . . . . . . . . . . . 6 Historical Society.
Hispanic Studies . . . . . . . . . . . . 5
Immigration . . . . . . . . . . . . . . . 7
Latin American Studies . . . . . . . . 6
Law . . . . . . . . . . . . . . . . . . . . .7
Literature . . . . . . . . . . . . . . . . .5
Medical Anthropology . . . . . . . .6
Mental Health . . . . . . . . . . . . . .6
Politics . . . . . . . . . . . . . . . . . . .5
Race . . . . . . . . . . . . . . . . . . 2, 3
Regional . . . . . . . . . . . . . . . 1, 4
Religion . . . . . . . . . . . . . . . . . .8
Southern Studies . . . . . . . . . . 2, 3
US History . . . . . . . . . . . . . .1, 2, 3

Clockwise, from above left:

Cover of Decca “Race” records catalog (1940). Authors’ collections.
Cover of Decca “Hill Billy” records catalog (1938). Authors’ collections.
Advertisement for Kapp Music Company. Chicago Defender, May 29, 1926.
Authors’ collections.
Owen Bradley (left) with Patsy Cline and Paul Cohen, Decca’s A&R man in
charge of its country department, at Bradley Studio in Nashville (1957).
Courtesy of the Country Music Hall of Fame® and Museum.

cover illustration:
Postcard of the Starr Piano
Company, manufacturer of
Gennett Records, Richmond,
Indiana (ca. 1910).
Courtesy of Jane Lyle.
 B l u e s / C o u n t r y M u s i c / R e g i o n a l / US H i s t o r y

The business men and women of the early twentieth century

who scouted musical talent, worked with artists to shape, market,
and sell their sound, and, in the process, created the genres of
race and hillbilly music

A&R Pioneers
Architects of American Roots Music on Record
B r i a n Wa r d a n d Pat r i c k H u b e r

A
&R Pioneers offers the first compre-
hensive account of the diverse group
of men and women who pioneered
artists-and-repertoire (A&R) work in the
early US recording industry. In the pro-
cess, they helped create much of what we
now think of as American roots music.
Resourceful, innovative, and, at times,
shockingly unscrupulous, they scouted and
signed many of the singers and musicians
who came to define American roots music
between the two world wars. They also
shaped the repertoires and musical styles
of their discoveries, supervised recording
sessions, and then devised marketing
campaigns to sell the resulting records. By
World War II, they had helped redefine the
canons of American popular music and
­established the basic structure and prac-
tices of the modern recording industry.
Moreover, though their musical interests,
talents, and sensibilities varied enormously,
these A&R pioneers created the tem-
plate for the job that would subsequently
­become known as “record producer.”
Without Ralph Peer, Art Satherley,
Frank Walker, Polk C. Brockman, Eli
­Oberstein, Don Law, Lester Melrose,
J. Mayo Williams, John Hammond, Helen
Copublished with the Country Music Foundation Press
Oakley Dance, and a whole army of lesser
known but often hugely influential A&R May 2018
representatives, the music of Bessie Smith 448 pages, 7 x 10 inches
and Bob Wills, of the Carter Family and 49 b&w illustrations, notes, references, index
Count Basie, of Robert Johnson and cloth $39.95t ISBN 978-0-8265-2175-0
­Jimmie ­Rodgers may never have found its ebook $9.99 ISBN 978-0-8265-2177-4
way onto commercial records and into the
heart of America’s musical heritage. This is
their story.

“A significant contribution that casts

fresh light on an under-explored
subject—the varied collective and
individual contributions of record
company A&R managers and scouts
to popular roots music. Fluid, highly
readable, and packed with a great deal
of necessary detail.”
— Barry Mazor, author of Ralph Peer and the
Making of Popular Roots Music
Brian Ward is Professor in
American Studies at Northumbria
University. He has published eight
books, including the award-winning
Just My Soul Responding: Rhythm
and Blues, Black Consciousness, and
Race Relations (1998) and Radio and
the Struggle for Civil Rights in the
South (2004).
Patrick Huber is Professor of
History at Missouri University of
Science and Technology. He is
the author or editor of five books,
including the prize-winning
Linthead Stomp: The Creation of
Country Music in the Piedmont
South (2008) and The Hank Williams
Reader (2014).

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C i v i l R i g h t s / US H i s t o r y / S o u t h e r n S t u d i e s / R a c e

Now for the first time in paperback and with sixteen additional profiles
of Freedom Riders, this classic photo-history offers readers a rare
opportunity to engage with unsung individuals of the civil rights movement
through mug shots, portraits, bios, and interviews

Breach of Peace
Portraits of the 1961 Mississippi Freedom Riders
E x pa n d e d E d i t i o n
Eric Etheridge

Preface by Roge r Wil k ins • Foreword by D iane McWhor te r

B
February 2018
272 pages, 9 x 12 inches
98 duotone photo portraits, 329 mug shots
paper $29.95t 978-0-8265-2190-3
Eric Etheridge has worked as an editor
for magazines such as Rolling Stone,
Seven Days, the New York Observer, and
Harper’s. The Freedom Rider portraits
and mug shots have been widely
exhibited. Sixteen were included in the
civil rights photography show Road to
Freedom, which originated at the High
Museum in Atlanta and traveled to the
Smithsonian in Washington, DC, the
Field in Chicago, and other venues.
reach of Peace is a photo-history told
in images old and new. The book ­
includes the mug shots of all 328 Free-
dom Riders arrested in Jackson, Missis-
sippi, along with contemporary portraits
of 98 Riders, supplemented by interviews
and brief bios. (The 2008 edition had 82
profiles.)
In the spring and summer of 1961,
several hundred Americans—blacks and
whites, men and women—entered South-
ern bus and train stations to challenge the
segregated waiting rooms, lunch counters,
and bathrooms. The Supreme Court had
ruled that such segregation was illegal, and
the Riders were trying to make the federal
government enforce that decision.
Though there were Freedom Rides
across the South, Jackson soon became the
campaign’s focus. The 328 Riders arrested
there were quickly convicted of breach of
peace. The Riders then compounded their
protest by refusing bail. “Jail, no bail!” was
their cry, and they soon filled the city’s
jails. Mississippi responded by transferring
them to Parchman, the infamous Delta
prison farm, for the remainder of their
time behind bars, usually about six weeks.
New to the expanded edition are five por-
traits made in the maximum-security cells
at Parchman during the fiftieth anniversary
events of 2011.
The mug shots of each Rider, bearing
name, birth date, and other personal de-
tails, were duly filed away by agents of the
Mississippi State Sovereignty Commission,
a state investigative body dedicated to
preserving white supremacy. By carefully
preserving the mug shots, the Commission
inadvertently created a testament to these
heroes of the civil rights movement.
“The mug shots turn out to be a remarkable
exercise in folk portraiture. Seeing them side
by side with Etheridge’s terrific portraits of the
same men and women forty-five or more years
later exerts a fascination reminiscent of Michael
Apted’s ‘Up’ film series. The interview excerpts
bring to life the experience these people
shared—not just the rides, the arrests, and the
beatings but also, in many cases, the weeks or
months they spent in jail afterward, often in
the fearful confines of the infamous Parchman
prison farm. We learn what they were doing
before the rides and what they have done since.”
— Hendrik Hertzberg, in the New Yorker

2  Va n d e r b i lt U n i v e r s i t y P r e s s   •  New for Spring & Summer 2018

 From E ric E theridge ’ s N ew I ntroduction to B reach of P eace
When the six Freedom Riders from Minneapolis flew home after
their arrest and imprisonment in Mississippi in 1961, they were met
at the airport by Mayor Arthur Naftalin and a boisterous crowd of
several hundred, all there to celebrate. The Riders responded by
breaking into song, leading an impromptu hootenanny of freedom
songs on the tarmac. Mayor Naftalin then whisked the six off to
city hall for a more formal official welcoming and press conference.
It would be years before the rest of the Riders got that kind
of reception. But the moment finally arrived in 2011, the fiftieth
anniversary. That May, PBS broadcast a two-hour documentary
about the successful campaign to desegregate Southern bus
stations, and Oprah aired an episode of her show starring 178
Riders. “I stand with heroes,” she told her millions of viewers. The
Riders threw themselves a reunion in Chicago, and later attended
anniversary events in Jackson, where the governor, Haley Barbour,
formally opened the proceedings.  “We apologize to you for your
mistreatment in 1961,”  he told the Riders.  “And we appreciate this
chance for atonement and reconciliation.” Across the country,
local newspapers and TV stations ran countless profiles of newly
rediscovered Riders living in their communities. Calvin Trillin,
who had covered the Rides for Time in 1961 and rode on the first
bus into Mississippi, now covered the gatherings in Chicago and
Jackson for the New Yorker.
It was all a good time, a blast even (I was there for some of
it), a whirlwind of celebrations and honorings, as well as solemn
recollections, especially of those who had not lived to see this
William Harbour Ellen Ziskind
Bill Svanoe Theresa Walker
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day. Mississippi dedicated new historic markers honoring the
Riders. Montgomery opened a Freedom Rider museum in the
remains of its old bus station. The accolades were so ubiquitous
that you could be forgiven for thinking that the Riders were always
cherished and celebrated. In 1961, however, the Riders were mostly
reviled.
In 1961 the Riders were judged to be “miserable frauds.”  They
were “deranged mammals.”  They were “bands of insipid
futilities.”  They were “meddlers, bleeding hearts, publicity seekers
and assorted misfits.”  They were “dupes” and “un-American.”  Their
campaign was “directed, inspired, and planned by known
communists,” said the head of the Mississippi Highway Patrol. […]
The Freedom Riders were most often referred to with an easy
sneer: the “so-called Freedom Riders.”  The two Jackson papers, the
Clarion-Ledger and the Daily News, rarely missed a chance to use
the phrase. […]
Listen to Attorney General Robert Kennedy tell reporters in
late May 1961 why the Riders need to stop riding (after three
violent attacks against them in Alabama): “I don’t see that the
Freedom Riders, who are so-called Freedom Riders, accomplish a
great deal.”
On the NBC Nightly News, David Brinkley echoed Kennedy and
extended his indictment: “It’s time for those so-called Freedom
Riders to stop it. They are accomplishing nothing whatsoever and,
on the contrary, doing positive harm.”
This was, by and large, the mainstream take on the Rides.
Miller G. Green
Pauline Knight-Ofosu
   3
Film Studies / Regional

A collection of wide-ranging film reviews and journalism

from a beloved Nashville writer

People Only Die of Love in Movies

Film Writing by Jim Ridley
Jim Ridley

Ed i ted by Steve Har uch

C
ombining a cineaste’s encyclopedic
knowledge of film with a child’s sense
of wonder, Jim Ridley wrote about mov-
ies in a way few others can.
He reveled in the joy and mischief of
June 2018 cinema, dwelled on its beauty and vio-
272 pages, 6 x 9 inches
lence, and navigated the full breadth of
12 b&w photographs, index
its mythology with clarity and enduring
cloth $29.95t 978-0-8265-2206-1
curiosity that earned him the respect of
critics around the country. At the time of
his unexpected death in 2016, Ridley was
editor-in-chief of the alt-weekly Nash-
ville Scene, the paper where his incisive,
wide-ranging film reviews won him a
­devoted readership beginning in 1989.
Jamie Hernández-Brahier
People Only Die of Love in Movies
takes its title from a line in the 1964 movie
­musical The Umbrellas of Cherbourg, the
subject of one of Ridley’s best-known
pieces, i­ ncluded in this volume. In all, the
anthology collects nearly one hundred of
Ridley’s film reviews, essays, and journal-
istic works, expertly organized by editor
Steve Haruch into writing by film genre
(e.g., Westerns, the Nouvelle Vague), cine­
matic theme (e.g., heroes, sexuality), and
writing style (e.g., negative reviews, nar-
rative journalism) to demonstrate Ridley’s
range.
People Only Die of Love in Movies
­invites its readers to revisit favorite films,
discover new loves, and immerse them-
selves in the unparalleled writing of a dis-
cerning and knowledgeable critic.

“A moving tribute to a great American film critic,

this collection brings together an exhilarating
array of the best of Jim Ridley’s writing, carving
Jim Ridley was a writer and editor at the
out clever pathways to guide readers through
Nashville Scene for more than twenty-five years,
his far-ranging yet always very personal
Doug Lehmann

its resident film critic, and most recently the

paper’s top editor. Under his editorship, the
cinephilia—and through film history itself—
Scene won forty awards from the Association of and to paint a vivid picture of this beloved
Alternative Newsmedia, averaging better than Nashvillian. The loss of Ridley’s big-hearted and
five per year. Ridley took home first place in Steve Haruch is a writer, editor, stylish voice left a giant hole in contemporary
arts criticism twice himself. He also contributed and filmmaker based in Nashville. film criticism, but this book performs a great
to other publications such as the Village Voice, His work has appeared in the service by creating a permanent reminder of
Nashville Scene, the New York Times,
the Criterion Collection, and Cinema Scope. As the magnitude of his writing and film-advocacy
NPR’s Code Switch, the Guardian,
a champion of arts cinema, Ridley’s advocacy achievements. Thank you, Steve Haruch, for this
helped save the Belcourt Theatre in Nashville and elsewhere. He is currently
producing a documentary film
labor of love.”
from closure in the early years of the new
about the history of college radio. — Liz Helfgott, Editorial Director, The Criterion Collection
millennium.

4  Va n d e r b i lt U n i v e r s i t y P r e s s   •  New for Spring & Summer 2018


How the sustained scrutiny of the ever-evolving idea of Europe
by artists and intellectuals helped pave the way for the current
protests against the European Union
The Rise of Euroskepticism
Europe and Its Critics in Spanish Culture
Lu i s M a r t í n - E s t u d i l lo
C
overing from 1915 to the present, this
book deals with the role that artists
and intellectuals have played regarding
projects of European integration. Con-
sciously or not, they partake in a tradition
of Euroskepticism. Because Euroskepticism
is often associated with the discourse of
political elites, its literary and artistic ex-
pressions have gone largely unnoticed. This
book addresses that gap.
Taking Spain as a case study, author
Luis Martín-Estudillo analyzes its conflict
over its own Europeanness or exceptional-
ism, as well as the European view of Spain.
He ranges from canonical writers like
Unamuno, Ortega y Gasset, and Zambrano
to new media artists like Valeriano López,
Carlos Spottorno, and Santiago Sierra.
Martín-Estudillo provides a new context
for the current refugee crisis, the North-
Helaina Thompson
Luis Martín-Estudillo,
Associate Professor of Spanish
Literature and Culture at the
University of Iowa, is managing
editor of the Hispanic Issues
series published by Vanderbilt.
E u r o p e a n H i s t o r y / H i s pa n i c S t u d i e s / P o l i t i c s / L i t e r at u r e
South divide among EU countries, and the
generalized disaffection toward the project
of European integration.
The eclipsed critical tradition he dis-
cusses contributes to a deeper understand-
ing of the notion of Europe and its insti-
tutional embodiments. It gives resonance
to the intellectual and cultural history of
Europe’s “peripheries” and re-evaluates
Euroskeptic contributions as one of the few
hopes left to imagine ways to renew the
promise of a union of the European nations.
“As the EU searches for new narratives, Luis
Martín-Estudillo has written a brilliant and
necessary book that questions Spanish
approaches to Europe as Arcadia and explores
later disillusions and frustrations. In this
ambitious, intelligent, reflexive, and extremely
well-informed work, Martín-Estudillo traces
conflicts previous to the current crisis, depicting
a succession of diverse—sometimes opposing—
testimonies throughout Spanish thought of
the past eighty years, including acute visual
examples. He provides a means to rethink
not only discourses on Europe and Spain, but
also the very construction of Spanishness as
masquerade.”
— Estrella de Diego, Universidad Complutense de Madrid
“Just when the idea of Europe—that borderless
common ground where peace and good life
were granted—vanishes due to neoliberal crises,
xenophobia, and austerity policies, Martín-
Estudillo’s brilliant, wise, and provocative book
analyzes the complexities and ambiguities of the
European project from Spain’s perspective.”
— Germán Labrador, Princeton University
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February 2018
264 pages, 6 x 9 inches
11 b&w illustrations, notes, references
hardcover $35.00s 978-0-8265-2194-1
ebook $9.99 978-0-8265-2196-5
“At once timely and historically grounded, Luis
Martín-Estudillo’s compelling study of Spanish
‘Euroskepticism’ addresses two interlocking, yet
at times contrastive, formations: the nation-state
of Spain and the supranational state of Europe.
In both cases, one more naturalized than the
other, dreams of unity, diversity, and openness,
of peaceful and productive cooperation and
communication, are buckled by nightmares
of disunity, homogeneity, and closure, of
predatory and destructive competition and
noncommunication. Reviewing an impressive
array of Spanish literary, cultural, political, and
philosophical texts on Spain and Europe from
the late nineteenth century to the present,
Martín-Estudillo grapples with such pressing
issues as welfare, migration, xenophobia, conflict,
representation, dissent, and the politics of
location and mobility, belonging, and difference.
Written with verve, rigor, discernment, and
clarity, The Rise of Euroskepticism makes an
important contribution to one of the burning
questions of modern times.”
— Brad Epps, University of Cambridge
   5
M e n ta l H e a lt h / M e d i c a l A n t h r o p o lo g y / L at i n Am e r i c a n S t u d i e s / G lo b a l H e a lt h
May 2018
272 pages, 6 x 9 inches
4 b&w illustrations, references, index
hardcover $69.95s 978-0-8265-2197-2
paper $29.95s 978-0-8265-2198-9
ebook $9.99 978-0-8265-2199-6
Whitney L. Duncan is Assistant
Professor of Anthropology at the
University of Northern Colorado.
6  Va n d e r b i lt U n i v e r s i t y P r e s s   •  New for Spring & Summer 2018
Oaxaca, an unexpected site of the transnational spread of psychological
and psychiatric ways of knowing and working upon the self
Transforming Therapy
Mental Health Practice and Cultural Change in Mexico
Whitney L. Duncan
O
axaca is known for many things—its
indigenous groups, archaeological sites,
crafts, and textiles—but not for mental
health care. When one talks with Oaxacans
about mental health, most say it’s a taboo
topic and that people there think you “have
to be crazy to go to a psychologist.” Yet
throughout Oaxaca are signs advertising
the services of psicólogos; there are promi­
nent conferences of mental health profes-
sionals; and self-help groups like Neurotics
Anonymous thrive, where participants rise
to say, “Hola, mi nombre es Raquel, y soy
neurótica.”
How does one explain the recent
growth of Euroamerican-style thera-
pies in the region? Author Whitney L.
Duncan analyzes this phenomenon of
“This emotionally provocative ethnography explores
diverse therapeutic experiences and psychiatric
sociality among urban and rural Oaxacans and
provides a potent theoretical and methodological
balance to a burgeoning public health and policy
discourse on global mental health.”
— Mary-Jo DelVecchio Good, Professor of Global Health and
Social Medicine, Harvard University/Harvard Medical School
“This book explores psy-services in ‘other’ parts
of the world, beyond the global North or large
cities in the global South. As Duncan shows, psy-
concepts are a key part of Oaxaca, where they are
reinterpreted, re-examined, accepted wholesale,
unpacked, or discarded. That is, they are mobile,
moveable concepts that are used by people for their
own psy-sociality needs.”
— Vania Smith-Oka, author of Shaping the Motherhood of
Indigenous Mexico
“psy-­globalization” and develops a rich
ethnography of its effects on Oaxacans’
understandings of themselves and their
emotions, ultimately showing how global-
izing forms of care are transformative for
and transformed by the local context. She
also delves into the mental health impacts
of migration from Mexico to the United
States, both for migrants who return and
for the family members they leave behind.
This book is a recipient of the Norman L. and
Roselea J. Goldberg Prize from Vanderbilt
­University Press for the best book in the area
of medicine.
“This marvelous book develops the concepts of
psychological and psychiatric globalization in
Oaxaca, Mexico, revealing the deep contradictions
inherent in them. On the one hand, these terms
denote the process by which two mental health
disciplines develop transnational ‘ways of knowing
and working upon the self’ that help fashion
modern self-actualizing and regulating subjects
ready to implement the neoliberal agendas of
globalization. And, on the other, ethnographic
analysis shows how this process results in locally
recast, empowering tools for acknowledging the
suffering created by these agendas and for seeking
individual and collective liberation from them.  …
Duncan provides rich ethnographic documentation
of these transformative, contradictory processes,
resulting in a study that is at once profound and
hard to put down.”
— Roberto Lewis-Fernández, MD, Professor of Clinical
Psychiatry at Columbia College of Physicians and Surgeons
and Director of the New York State (NYS) Center of Excellence
for Cultural Competence and the Hispanic Treatment Program
at NYS Psychiatric Institute

Why do immigration advocates rely on “a cause?” And what is at stake
when the young migrants at the heart of the cause complicate or even
resist attorneys’ efforts?
Lawyering an Uncertain Cause
Immigration Advocacy and Chinese Youth in the U.S.
M i c he l e S tat z
E
ach year, a number of youth who mi-
grate alone and clandestinely from
China to the United States are appre-
hended, placed in removal proceedings,
and designated as unaccompanied minors.
These young migrants represent only a
fraction of all unaccompanied minors in
the US, yet they are in many ways depicted
as a preeminent professional and moral
cause by immigration advocates.
In and beyond the legal realm, the
figure of the “vulnerable Chinese child”
powerfully legitimates legal claims and
attorneys’ efforts. At the same time, the
transnational ambitions and obligations
of Chinese youth implicitly unsettle this
figure. The maneuvers of these youth not
“A humanistic, wonderfully written,
engaging, and terribly important
work of scholarship in a crucial area of
research.”
— Robert Barsky, author of Undocumented
Immigrants in an Era of Arbitrary Law: The
Flight and the Plight of People Deemed
“Illegal”
Imm i g r at i o n / L aw / A n t h r o p o lo g y / A s i a n S t u d i e s
only belie attorneys’ reliance on racialized
discourses of childhood and the Chinese
family, but they also reveal more broad
uncertainties around legal frameworks,
institutional practices, health and labor
rights—and cause lawyering itself.
Based on three years of fieldwork across
the United States, Lawyering an Uncertain
July 2018
Cause is a novel study of the complex and 256 pages, 6 x 9 inches
often contradictory rights, responsibili- 2 maps, notes, references, index
ties, and expectations that motivate global hardcover $69.95s 978-0-8265-2208-5
youth and the American attorneys who paper $27.95s 978-0-8265-2209-2
work on their behalf. ebook $9.99 978-0-8265-2210-8
“A compelling, lucid, accessible account
of the complex negotiations between
Fujianese youth and the cause lawyers
who represent them in court. Statz has
succeeded in making a complex legal
context accessible to the lay reader. This
book is not only relevant to experts but
will also be enjoyed by undergraduate
students of anthropology, migration, Christina Boynton
and legal studies, as well as
practitioners in relevant fields.”
— Naomi Glenn-Levin Rodriguez, author of
Fragile Families: Foster Care, Immigration,
Michele Statz is an anthropologist
and Citizenship
of law and Assistant Professor in
the Department of Family Medicine
and Biobehavioral Health at the
University of Minnesota Medical
School, Duluth. She is a creator
and co-editor of the website Youth
Circulations.
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Af r i c a n S t u d i e s / R e l i g i o n / A r t H i s t o r y
New paperback September 2017
208 pages, 7 x 10 inches
84 color photographs, 1 map
notes, references, index
paper $34.95s ISBN 978-0-8265-1908-5
cloth $65.00s ISBN 978-0-8265-1907-8
L at i n Am e r i c a n l i t e r at u r e / c o m pa r at i v e l i t e r at u r e / t r a n s at l a n t i c s t u d i e s / p o p u l a r c u lt u r e
New paperback February 2018
248 pages, 7 x 10 inches
notes, references, index
paper $34.95s ISBN 978-0-8265-1832-3
ebook $9.99 ISBN 978-0-8265-1833-0
8  Va n d e r b i lt U n i v e r s i t y P r e s s   •  New for Spring & Summer 2018
NOW IN PAPER B A C K
Vodun in Coastal Bénin
Unfinished, Open-Ended, Global
Dana Rush
“Highly recommended.”
— Choice
“With her description and critical analyses of Vodun, Dana Rush reveals the art and philosophy of a religious culture
that has become the dominant aesthetic for the Black Atlantic world, from Ouidah to Port-au-Prince to South
Central L.A. Rush’s book will become a standard reference on Vodun/Vodou/Voodoo.”
— Donald Consentino, Professor, World Arts and Cultures, UCLA, and Curator, In Extremis: Death and Life in 21st-Century Haitian Art
“A rich and nuanced contribution to the literature on global Vodun in all its manifestations—from India to Brazil
and the Caribbean, along with insights into slavery and its meanings in the Atlantic world—this book will be of
great interest to students and practitioners of African-derived religions in Africa, the Caribbean, South America,
and even North America. In this work Rush paradoxically moves us closer to understanding that which, she argues
compellingly, cannot be understood.”
— Edna G. Bay, Professor of Interdisciplinary and African Studies, Emory University, and author of Asen, Ancestors, and Vodun
Dana Rush is a Research Fellow at the University of Strasbourg Institute for Advanced Study and a Visiting Senior
Fellow at the Amsterdam Institute for Social Science Research at the University of Amsterdam.
Jungle Fever
Exploring Madness and Medicine in Twentieth-Century Tropical Narratives
Charlotte Rogers
“…a stunningly erudite and insightful critical and historical interdisciplinary analysis.”
— Hispania
“Jungle Fever takes us on a fascinating excursion into the colonial and postcolonial tropics where we find Conrad and
Malraux in the company of Alejo Carpentier, Mario Vargas Llosa, Jorge Luis Borges, and Wilson Harris—with many
surprises lurking along the way.”
— Vera Kutzinski, author of Against the American Grain
“Jungle Fever isolates, in the novelistic subgenre of the jungle book, a deep strand involving disease, which is at
the source of its creative impulse, and where these adventure novels carry out a compelling critique of modern
imperialism. Cutting across the English, Latin American, and French traditions, this book is a model of the
comparative approach.”
— Roberto González Echevarría, Sterling Professor of Hispanic and Comparative Literature, Yale University, and author of Myth and Archive
Charlotte Rogers is Assistant Professor of Spanish at the University of Virginia.
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