2027 Pricing and Product Updates from Duke University Press, Scholarly Publishing Collective, and Project Euclid

Duke University Press (DUP) 2027 pricing for individual journal titles and book and journal collections is now available online at dukeupress.edu/libraries. Scholarly Publishing Collective pricing for single titles and publisher collections is available at scholarlypublishingcollective.org/pages/for_librarians. Project Euclid pricing for individual mathematics titles and the Euclid Prime collection is available at projecteuclid.org/subscriptions-and-access

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Duke University Press Journal Updates

We are pleased to announce the upcoming launch of Anthropocene History, the first scholarly journal dedicated to exploring the historical dimensions of the Anthropocene. Developed by editors Sverker Sörlin and Susanna Lidström of the KTH Royal Institute of Technology in Stockholm, in collaboration with the Editorial Office, this platinum open-access journal will provide a unique forum for understanding the intertwined histories of humans and the Earth in an era of profound planetary change. Sponsored by the KTH Royal Institute of Technology’s Centre of Excellence for Anthropocene History, the journal will be fully funded for its first decade—ensuring free access for readers and no publication fees for authors. The inaugural issue is set to debut in October 2026.

The Journal of Southeast Asian Studies (JSEAS) is joining our growing collection of Asian studies journals, with volume 57 to be published in 2027. Formerly published by Cambridge University Press, JSEAS volume 56 was published in 2025. The Journal of Southeast Asian Studies is one of the principal outlets for scholarly articles on Southeast Asia (Brunei, Cambodia, Indonesia, Laos, Malaysia, Myanmar, the Philippines, East Timor, Singapore, Thailand, and Vietnam).

Both Anthropocene History and JSEAS will be included in the e-Duke Journals 2027 collection.

The Michigan Mathematical Journal (MMJ) becomes a Duke University Press journal in 2027, with continued hosting on Project Euclid, and joins the Euclid Prime collection. Euclid Prime subscribers will receive perpetual access to MMJ content published in the subscription year, along with term access to the journal’s 76-volume backfile, reaching back to its founding in 1952.  

The population studies journal Demography reached its S2O funding threshold for the 2026 volume, ensuring that the 2026 content will be available open access in perpetuity. Institutions can still subscribe to receive term access to the journal’s backlist (1964–2020, 2024–2025) and are encouraged to participate in support of the 2027 volume.

Duke University Press e-Book Collection Updates

With 130 books, the new Native and Indigenous Studies e-book collection brings together theoretically driven, interdisciplinary scholarship that reflects the field’s expanding global scope. View the full list of available subject collections at https://dukeupress.edu/information-for/librarians/electronic-products.

Subject Collection Top-Ups

Existing subject collection customers have the option to “top up” their subject collection by purchasing the year’s new batch of relevant titles. 2026 top-ups contain all relevant titles published in 2026. 2027 top-ups will be available in February 2027.

Purchase Partial Collections by Year

New customers who do not own the subject collection can purchase perpetual access to selected years, with a minimum purchase of three years of titles.

Direct to Open (D2O) Collection

Duke University Press will not be participating in the Direct to Open (D2O) model in 2027, and we appreciate the libraries that supported the 2026 collection. We were able to open five titles for 2026. In the future, we will continue to pursue various methods of permanently opening Duke University Press books.

Evidence-Based Acquisition (EBA)

We are also pleased to begin offering an evidence-based acquisition model for DUP e-books. For a minimum upfront fee, institutions will gain access to 3,600+ e-books during a 12-month period. At the end of the EBA, 100% of the upfront fee will go toward selecting the most valuable titles for perpetual ownership. For more detailed information, contact dup_libraryrelations@duke.edu.

For more information about 2027 collection pricing, please contact dup_libraryrelations@duke.edu. For more information about 2027 pricing for individual journals, please contact dup_orders@duke.edu.  

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Scholarly Publishing Collective and Project Euclid Launch 2027 Journal Pricing, New Title, and Collection Updates

2027 pricing updates for the Scholarly Publishing Collective (the Collective) and Project Euclid, both managed by Duke University Press, are now available. The Collective offers titles from the American Mental Health Counselors Association, Cornell University Press, Michigan State University Press, Penn State University Press, SBL Press, Texas Tech University Press, the University of Illinois Press, the University of North Carolina Press, and West Virginia University Press.

Scholarly Publishing Collective Title Updates 

Penn State University Press:

  • Arab Americana, sponsored by the Center for Arab Narratives, a National Institution of ACCESS, and supported by the William M. and Gail M. Plater Chair of the Liberal Arts at Indiana University, Indianapolis, joined the PSU Press portfolio in 2026 and will be a new title for the 2027 Penn State Journals Collection.
  • ab-Original: Journal of Indigenous Studies and First Nations and First Peoples’ Cultures will begin publishing again under the leadership of a new editorial board. The journal paused publication in 2021 with volume 4 and will resume with volume 5 in 2027.
  • Transformations: The Journal of Inclusive Scholarship and Pedagogy will resume publication next year as a PSU Press–owned title. The most recent volume, volume 30, was published in 2020. Volume 31 will appear in 2027.
  • The Journal of the Pennsylvania Academy of Science will become open access with the 2027 volume (volume 101). 

 University of Illinois Press:

  • Outright purchase of backfile volumes is available at a discount for the following titles: American Journal of Psychology, Process Studies, Ethnomusicology, and Jazz and Culture.
  • The Journal of the Ibn ‘Arabi Society, new to UI Press in 2027, will be exclusive to the Scholarly Publishing Collective and the Illinois Journals Collection. 

University of North Carolina Press

  • Print subscriptions to Hispanófila and Romance Notes are available for order through the Collective.

West Virginia University Press

  • West Virginia History: A Journal of Regional Studies is adding a print option starting with volume 20. Print subscriptions are now available through the Collective.

Euclid Prime Collection Updates

  • The 2027 Euclid Prime collection will include 27 titles.
  • The Michigan Mathematical Journal (MMJ) is joining Euclid Prime for 2027 as a Duke University Press journal. Prime subscribers will receive perpetual access to content for the purchased year, as well as term access to the 76 volumes of back content (to 1952). 
  • All content in the 2027 Euclid Prime collection will be available in accessible HTML or ePub formats, in addition to PDF.
  • The Albanian Journal of Mathematics is changing its editorial scope and will begin publishing under the new title Journal of Mathematics and Artificial Intelligence in 2027.

For more information about 2027 pricing for individual journals, please contact dup_orders@duke.edu. For more information about 2027 pricing for Collective and Project Euclid collections, please contact dup_libraryrelations@duke.edu. For information about the Collective, please contact Ray Lambert, Publishing Services Manager, at rlambert@duke.edu.

Q&A with Samantha Pinto, author of Inside the Body of Black Feminism

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Samantha Pinto is Professor of English, African & African Diaspora Studies, and Women’s, Gender, & Sexuality Studies at The University of Texas at Austin. Her new book Inside the Body of Black Feminism: Science, Race, Culture connects historical studies of medical racism with Black feminist theories of the body to reimagine the material and metaphoric possibilities for political subjectivity across race, gender, and culture. Working through materials such as medical textbooks, memoirs, data visualizations, museum displays, speculative fiction, and horror films, Pinto explores how a visually inaccessible corporeal interior becomes discernible and racialized in the public sphere.

You write that metaphor can be a “tool to pivot from the binaries produced by racist, sexist, ableist histories.” What does that look like? What are some powerful metaphors and what can they do?

Let’s take two: One about the body: The heart is a pump. One about Black feminism: The master’s tools can never dismantle the master’s house. So there’s this way that metaphor is seen as too powerful/overriding other potential meanings (lots of science & medical rhet/comm studies focus on this, and disability studies diagnosed this with Narrative Prosthesis) and as something too light and fluffy and non-material to matter (lots of studies of inequality will say but that is “just” a metaphor, like that’s empty). Both of these can be true and are true! So: Something like “the heart is a pump” is priming us for a particular way of reading and seeing the heart’s function and can be super helpful to help us understand how it works even as it defines some limits of the questions we might ask (What if we said it was an engine? A disinfection station? etc.). Emily Martin took this on in The Woman in the Body by questioning how sperm were described as little soldiers storming the castle walls of the egg during reproduction. There are other stories we can tell or metaphors that we can use that would get us to a different cultural understanding but also to wildly different scientific questions about the bodily process. I love this! And I want to bring it to metaphors like Lorde’s statement above that now stands in a place of faith in Black feminism that keeps us from asking questions about the field and the structures it critiques. It keeps Black feminism as storming the gates of superstructure, always insurgent and resistant (Rachel Lee has a great article about this regarding Women of Color Feminism’s constant orientation as a haunt or a margin to the center of the field). And that can be useful and true-ish and helpful but what would another metaphor offer– what different questions would it allow? So, for instance, Saidiya Hartman uses “experiments” in Wayward Lives, Beautiful Experiments in the before the colon title! Why aren’t we talking more about this engagement with the language of science within Black feminist historical and political study? What happens if that becomes a main field metaphor?

What are some ways that Black expressive culture imagines the inside of the body? How do those imaginations “disrupt . . . Black studies’ own political metaphors and ways of knowing politics and history”?

One impetus and odyssey for this book’s research was the wild difference in imagining the body across Black texts. I think it really caught me that “history” as an explanatory method and key analytic– perhaps the explanatory method of the field for most of the 21st century– was not the over-riding vibe, if you will, of the work I was finding (and, I’ll admit, was interested in). History was there, of course– the history of medical apartheid, the history of experimentation and neglect, all of that work that history of science folks in Black Studies have done– but in expressive culture, the inside of the body was just as likely to be framed through change, through wonder, through complicated feelings of distance or disbelonging. Henrietta Lacks describes the tumor she felt that drove her to medical treatment as a “knot” on her womb. The abstract art of a’driane nieves imagines the inside of the body as a violent and beautiful process, not a restoration to what was before. The inside of the body is a space that expresses and holds contradiction in Black expressive culture. That’s why and how I was drawn to tracing it across forms, diasporas, and timelines.

You describe this book as both sitting within a “might” and turning to practices of “not knowing.” What does the intentional practice or application of uncertainty do within this book? How does this operate in tandem with knowing through or within the Black feminist body?

When I was pregnant with my first child, I went to see a specialist OB/GYN about a consistent abnormality of excess amniotic fluid in my ultrasounds. Unlike my regular (usually crunchy and non-interventionist!) OB/GYN, who even after testing for the usual things that were “wrong” if this cropped up insisted that I should just get an emergency C-section without further counsel, the specialist practice was very willing to use the word “idiopathic” and say “we don’t know.” They did this while pointing to evidence of what could be a cause of concern and showing us how it wasn’t that. They explained that 75% of cases of too much fluid were idiopathic and mostly non-threatening. They could say they didn’t know and explain why they didn’t know. And I loved it. It crystalized not just everything I wanted in my medical care (being spoken to like a sentient human) but everything I value in research: knowing enough (a lot) to know that you don’t know so many things, being willing to be wrong or uncertain and to explain why and have folks come with you for that research and writing journey. I try to take that approach into my work constantly, especially as a white woman in a field that doesn’t and shouldn’t center on my own identity. As many folks feel about their fields, mine have calcified around some unchecked truisms or values, like claiming Black feminism as perpetually resistant and radical. Unlike many academic fields, mine have often not had the luxury of uncertainty because their knowledge and expertise has been questioned and dismissed because of racism and sexism and classism. So as per my usual mode, I made that the big question of this book– what would it mean to think of the inside of the body as a place we both know and don’t know, as a space that has changed in the scientific and in the political, aesthetic, and cultural imagination? And what if we didn’t imagine that change as being right but as a perpetual cycle of seeing/combining/reading anew?

Cover of Inside the Body of Black Feminism: Science, Race, Culture by Samantha Pinto.The cover features a piece of art made with paint and oil pastels. It features a black figure against a deep red circle. The figure is outlined in multiple colors and their insides are drawn abstractly in different colors and with different textures. The title appears to the right in a yellow sans serif font. The subtitle is below in white. The author’s name is below this in a pale pink.

You have written elsewhere about how you were inspired to write this project in part by visiting natural history museums with your kids. How did those trips encourage your process? How is that reflected in the final book?

It’s hard to tell a story, a good story– in the moral and aesthetic uses of that term. Kids are the biggest test of your deconstructionist worldview because you are so intentionally building while complicating when they are starting at a narrative ground zero. Like I might critique affirmative consent as the be all and end all of political theory and feminist goals in my work, but also: I absolutely use it and teach it in my household while still being myself and being like: bodies and culture and sexuality and law are weird, y’all! So the Natural History Museum, as a construct, is like super false– they often find one bone and then they fabricate a dino skeleton around it! But also they are huge and compelling fabrications that captivate kids because of their size and the stakes of teaching them a concept of time that so far exceeds their imagination. So how do you see these “scientific” things with them and think of them as deeply performative and interactive and tell them the stories of how science got it wrong and tested and changed itself and it has to keep doing that, and we all need to keep doing that. We can talk about how we got these bones in front of us through really dubious violent means and we can think about that and still stare at Sue with wonder, you know? Daniel Tiger has a song that you can feel two feelings at the same time, and I still cite it often. Museum exhibitions are just the crystallization of that for me; I wrote a lot about the changes at Monticello in my second book and like Yes! but also Yuck! And also still not quite “good” but what could ever be right or good, totally and for everyone? And how do you maintain a sense of ethics alongside this sense of constant imperfection/impossibility? Watching kids in a museum or helping to raise or teach them in any capacity is an exercise in humility and a confrontation with imperfection– of yourself and of the world. Having a body is like that, too. And for sure writing a book is!

Infrastructures of Inattention and Necropolitical Kinship | The Weekly Read

The Weekly Read for July 11, 2026, is “Infrastructures of Inattention and Necropolitical Kinship: Ritual, Capital, and the Time of the Law in India” by Kriti Kapila. The article appears in issue 109 of Public Culture.

Read this article for free through October 7, 2026.
Learn more about the journal and sign up for issue alerts.

The article and research were recently featured in The Guardian; their coverage can be read here.

Journal cover featuring suspended red and pink stone fragments connected by a white geometric network on a pale background

Abstract
This article investigates the relationship between attention and large‐scale killing that takes place away from warzones and battlefields. Structural femicide in India in the form of dowry deaths and female feticide arguably erases as many lives every year as many wars and conflicts, yet it barely begets any public attention today. The collective apathy toward structural femicide is puzzling and cannot be accounted for by the neoliberal turn of the feminist movement in India, or then by the juridical domestication of dowry‐deaths and sex‐selection. This article offers a new genealogy for the demise of the protests against dowry‐deaths and the escalation of female feticide. It argues that the new temporality inaugurated by The Hindu Marriage Act (1955) disembedded marriage alliances from long‐term ritual exchange to a pared down temporality calculable by law, enabling marriage payments to conjoin with the logic of capital in new ways. Examining the waxing and waning of the public ire against dowry deaths, on the one hand, and a consistent indifference toward feticide, on the other, offers an opportunity to examine the political work of attention and releases the anthropological scholarship on attention from its current emphasis on algorithmic consumerism and self‐cultivation. While the protests against dowry killings in the 1970s and 1980s were an exceptional moment, what pushed them out of political attention span was neither habituation, nor loss of newness, but rather new infrastructures of inattention constituted by capital, ritual, and the law.

Public Culture is a peer-reviewed interdisciplinary journal of cultural studies, published three times a year. It is sponsored by the Tulane Global Humanities Center.

A four-time CELJ award winner, Public Culture has been publishing field-defining ethnographies and analyses of the cultural politics of globalization for nearly forty years. The journal provides a forum for the discussion of the places and occasions where cultural, social, and political differences emerge as public phenomena, manifested in everything from highly particular and localized events in popular or folk culture to global advertising, consumption, and information networks.

The Weekly Read is a feature that highlights articles, books, and chapters freely available online. You can find a link to the selection here on the blog, as well as on our social media channels. Enjoy The Weekly Read, and check back next week for something new to read for free.

Q&A with Perry Zurn, Author of Cisgender, Disorienting a Category

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Perry Zurn is Provost Associate Professor of Philosophy at American University. In his new book, Cisgender: Disorienting a Category, Zurn traces the story of how cis entered contemporary gender lexicons. Utilizing unplumbed archives and fresh interviews, Cisgender offers a critical history of the term from the 1990s to the present, deftly defamiliarizing and reimagining cis at the same time.

In this book, you set out to “disorient” the category of cisgender. What does disorientation mean for you? What are the stakes of disorienting contemporary discussions of sex and gender?

Today, use of the term cisgender has fallen largely into two camps. On the one hand, people like Elon Musk, JK Rowling, and the rising right assert that cis is a slur and should be prohibited. You are a man or you are a woman. Period. And trans people are just confused. Musk even banned the term from Twitter/X in 2023. On the other hand, trans people, allies, and leftist liberals generally assert that cis is a neutral descriptor of non-trans people. Non-trans men and women are not simply men and women but cis men and cis women, on an equal footing with trans men and trans women. In our moment, cis has become a lightning rod for political fights.

Cover of Cisgender: Disorienting a Category by Perry Zurn. The cover is a teal blue with navy blue loops and curls tangled across it. They have the texture of brush strokes. The title appears center and large in a sans serif type in light green/blue. The loops that overlap with the title appear berry pink. The subtitle is above aligned left in a white serif font. The author’s name appears below aligned right in a white serif font.

I started writing this book because I got curious about the word. Where did cis even come from? When did it enter contemporary gender lexicons? Why does it feel impossible now to talk trans politics without it? Has it always meant a person whose gender “matches” their sex at birth? What other possibilities lie buried in its history? What are solid reasons for its endorsement or critique? I had become frustrated by how quickly the term cisgender seemed to stop thought in its tracks. At a juncture in which cisness—and critical discourses about it—have become ever more solidified and more crystalline, my book invites us to return to the muck and reimagine what this term could do.

This book offers an expansive history of the term cisgender. How does that expansive history help us reimagine gender justice today?

Cisgender: Disorienting a Category is a critical history. The conceit of this book is that our pasts not only explain where we have come from, they also offer overlooked possibilities for where we might go. This book offers the first definitive history of cis. It tracks that story geographically, from its Latin roots in the Mediterranean, through queer and trans subcultures in the US and Europe, to transfeminist conversations in Argentina and Brazil. It also tracks the term virtually, moving across platforms such as Usenet, Livejournal, Tumblr, and blogs to Twitter and Reddit. Along the way, a joyous mound of ideas gets piled up on the conceptual table.

Did you know that cis is a Latin prefix? For millennia, it has meant “on this side,” while trans meant “on the far side.” So, cis-Alpine, for example, means the side of the Alps that you are on, whereas trans-Alpine means the other side, which you are not on. In chemistry, cis isomers have a specific atom on one side of a molecule, while that atom jumps to the other side for trans isomers. Early trans endorsers knew these Latin and chemical uses and extrapolated from there: cis means staying on the birth side of your sexgender, while trans means moving to the other side.  

But cis has other Latin senses, too. It can refer, for example, to temporal proximity. If we carried that meaning forward, we might ask what our temporally nearest gender (or genders) are (e.g., this week), in comparison to those farther away (e.g., from our youth or childhood). Cis can also mean “within certain confines.” So, for example, cis-bedpost means in bed (or within the confines of the bedposts!). What might our at home gender(s), our in-bed gender(s), or our sick gender(s) be? These questions—which forefront issues of capitalism, sexuality, and disability—are precisely the kinds of questions that open up when we take cis as a question rather than already an answer.

The term cisgender arose within trans communities well before it began to circulate in the mainstream. What did its coiners and early users mean by it? And has that meaning changed in its now mainstream use?  

Cisvestite and cissexual actually arose in German sexology (in the 1910s and 1990s, respectively). But yes, cisgender first appeared (at least in print) in trans communities using early internet forums. In those first moments, cisgender meant a range of things. Before delineating some of them, I want to underscore this: cisgender was a trans innovation and intervention. As such, it is not just a neutral term that describes a naturally occurring kind. The term itself is a militant act. This is one reason I argue for an appropriate citational politics, one that acknowledges the trans people who built the term, rather than participates in a cisnormative erasure of their contributions to knowledge.

Two competing senses of cis were there from the beginning. I call them the psychological account (i.e., cis is a sense of one’s gender matching one’s sex assigned at birth) and the political account (i.e., cis is a gender position that is sanctified by the state and other social institutions). The psychological account reduces cis to a sense of self between the ears, prompting confessions of cis identity. By contrast, the political account turns us outward to assess the material and discursive institutions that enforce cisnormativity. One of the things I argue, in the book, is that while the psychological account won out, the political account is more compelling and has greater liberatory promise.  

In one of the final chapters, you note that the term cis is “sticky.” What do you mean by this? How does the term’s stickiness relate to the work it does for trans people?

Cis helps us talk about the histories, the discourses, and the political institutions that make trans life—and a lot of other gender nonconforming life—so difficult. The term helps us call out an otherwise unnamed universal—much like the terms whiteness or ablebodymindedness. It helps us name the privilege of moving in a world that expects your sexgender configuration. And it helps us identify the system of norms that discipline everyone’s sexgender experiences. It is because of all these critical uses that cis is so sticky and has stuck with us so implacably.

One of the real joys of this research was stumbling into a vibrant conversation around cis in Argentina and Brazil in the 2010’s. People like Mauro Cabral, Hailey Kaas, Beatrice Bagagli, Viviane Vergueiro Simakawa, and Blas Radi did a lot, inside and outside the academy, to mobilize the uptake of cis as a term and a framework. In that South American context, however, cisness was almost immediately reinterpreted not as some psychological state, or even a political institution, but as a colonial project. Cis is a way to name a longstanding Euro-American investment in Man and Woman—categories to which even the Global North conception of “trans” is still tied. In critiquing the colonial imposition of “cis” and “trans,” some of these writings press us to grapple with local sexgender configurations and bodily projects beyond (and before) that binary.

Despite this stickiness, you also show that cis doesn’t work in certain ways and for certain ends. How does cis fail? And why does that matter for gender liberation today?

Cis fails to help us talk about non-trans people’s genders—which are myriad and weird, often culturally distinct and temporally discrete, and complicated. In the book, I argue that there is no such thing as a cis gender. There are only genders (more than two) that pass, sometimes better than other times, as instantiating a cis norm.

I demonstrate this failure in a number of ways. First, if cisness is constructed in and through whiteness (especially via histories of colonialism and slavery), then colonized peoples, enslaved peoples, and people of color will, in some ways, fail to be cis without ever having to be trans. Second, if cisness is constructed in and through endosexism, then intersex people will, in some ways, fail to be cis without ever having to be trans. Third, if cisness is constructed in and through heteronormativity, queer people will fall short of cis, too, without ever having to be trans. And fourth, if cisness is constructed in and through compulsory ablebodymindedness, then disabled, mad, neurodivergent people will, in important ways, fall short of cis without having to be trans. Cis fails to accurately name all non-trans gender experiences. It also fails to provide room for the complex relationships trans and non-trans people have to fulfilling and failing gender norms.

Given these Black, Global South, intersex, queer, and crip critiques of the term, one thing seems clear to me. If trans and nontrans people are going to keep using the term cis to diagnose and resist epistemic and material inequalities, we need to be equally attentive to the ways our uptake of that term reinscribes epistemic and material inequalities.

Cisgender, as a term, is young, barely 30 years old. What do you hope for its future?

In Cisgender, I tell the story—or, rather, many stories—of how cis became possible and what possibilities its present solidification as a concept occludes. But the book also aims to move beyond history. To tell half stories, shattered stories, shifty and unsteady glimmers of stories that allow the crevices of cis—its buried worlds and upending appendages—to come to light. My goal is not to simply uncover the truth of cis (as if that were possible), but rather to open up what might become thinkable in its wake. 

I want to invite playfulness back into our gender lexicons. I was able to interview early users (even “coiners”) of the term cis, and they underscored that it started as an inside joke or a pun. A sort of ludic sparing. “Well, if we’re trans, they are cis.” But I was also able to include a glossary of 50+ cis terms (e.g., cistem, cisteria, cistory) from the last several decades. You can’t miss the (often humorous) conceptual ingenuity of trans people running through it. While cis has largely become serious and brittle today, I want to submerge it back in that sea of imaginative possibility.          

One of the places I hope we go is this. In Latin, cis can mean “right here” instead of “over there.” I would love us to think more about our genders as right here. Genders as grounded. Genders as local. Genders as crafted in specific relationships (to very different bodies, to our unique histories, and to our singular loved ones). Genders as built in relation to the land on which we live (and its own stories). Too many fights still happen in the realm of universals (e.g., “men,” “women,” “trans,” “cis”). Too many “over there.” I would love to see us ask: What kind of gendered beings do we want to be—right here, right here with our people, right here on this land, right here in this moment?   

Read a sample from Cisgender for free and save 30% with coupon E26CGNDR.

Before the Fire Dogs Steal the Sun | The Weekly Read

Cover of Before the Fire Dogs Steal the Sun: An Elegy by Crystal Mun-hye Baik. The cover features a room with cylinders covering the floor and floating casting shadows on the walls. There appears three solid overlapping circles aligned vertically and centered on the cover in golden yellow, dark olive green, and peachy red. The title is written in white across the circles in all caps. The subtitle is in the red circle in the same sans serif font. The author’s name appears in the yellow circle in black italics.

The Weekly Read is Before the Fire Dogs Steal the Sun: An Elegy by Crystal Mun-hye Baik.

In Before the Fire Dogs Steal the Sun, Crystal Mun-hye Baik offers an intimate cultural history of war, illness, banishment, and estrangement through the experiential lens of her family. Beginning with her father’s death and mother’s psychiatric hold in 2022, Baik situates her parents’ lives within the enmeshed narratives of Japanese colonialism, war, and transoceanic migration, examining Korean diasporic grief as a felt form of thinking and writing, rather than an object of study. In doing so, she reckons with diasporic genealogies of precarity that have configured the everyday lives of her parents and ancestral communities.

Blending different genres from narrative prose to visual essay, epistles to ancestral mourning rites, Before the Fire Dogs Steal the Sun is a meditation on the personal and ethical entanglements scholars must confront when they are implicated in the histories of violence they study.

Vinh Nguyen, author of The Migrant Rain Falls in Reverse, writes “In Before the Fire Dogs Steal the Sun, Baik balances research and storytelling with expert precision. Her beautifully crystalline prose illuminates the historical depth of intimate lives and the personal stakes of social experiences. Sentence after sentence, insight after insight, this elegy grips the reader and holds them in communal embrace until the very last word. A monumental achievement.”

Open access is made possible by the University of California Libraries.

The Weekly Read is a weekly feature in which we highlight articles, books, and chapters that are freely available online. You’ll be able to find a link to the selection here on the blog as well as on our social media channels. Enjoy The Weekly Read, and check back next week for something new to read for free.

Summer Reading Recommendations from our Staff

Heading on vacation? Relaxing at the beach? Or just cooling down indoors? Our staff has you covered! Head out to your local bookstore and grab a copy of one of these great books for your summer reading list.

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Senior Editor Elizabeth Ault, is returning to a classic this summer, Herman Melville’s Moby-Dick. “Amidst our national literacy crisis, I’m committing to a different kind of beach read: a Moby-Dick book club with a friend. I’ve never actually read the entire book (though I have read and loved Dayswork, a pandemic I guess we call it a novel about the writing of it)! I already love the technical whale parts, though; of course, the hubris of an aged white man ruining his ship in a futile quest to tame nature is really beyond on the nose as a metaphor at this point. Nevertheless, I am excited to close the 81 tabs of Heated Rivalry fanfiction I have open to lock into Melville’s wild weirdness.”

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Book Designer Courtney Richardson highly recommends Caro Claire Burke’s debut novel, Yesteryear. “From start to finish, I could NOT get enough of this delicious page-turner of a book. Post-covid I decided if I wasn’t gripped by a book, I didn’t have to finish it—and this book literally barely spent time closed once it was in my hands. I was rooting so hard for the main character Natalie to find her way through the messy life she created, but then a major plot twist had me turning over my thoughts and feelings about it entirely. I couldn’t believe I had missed all the cues for the real story underneath the story. For anyone who has spent a great deal of time trying to make themselves palatable, only to fail miserably, you will not want to miss this book.”

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Exhibit Manager Jes Malitoris says, “For those seeking something spine-tingly, I highly recommend Lover’s Leap, from local North Carolina author Rikki Goodwin. It’s a fun, fast novel about a haunted Bed and Breakfast with some great spooks and twists that surprised even me as a fairly genre-savvy reader. A perfect poolside read.”

Cover of Inex, A History of the by Dennis Duncan. Cover is bright yellow with multicolored lettering.

For our nonfiction lovers, Associate Books Marketing Manager Chris Robinson suggests Index, A History of the by Dennis Duncan. “It traces the fascinating history of the index, something that seems so benign that a book about it couldn’t be interesting. Duncan spans antiquity to search engines, showing how the index evolved from something to catalog vast amounts of knowledge in scrolls, codices, and finally books printed with a printing press. Also, imagine being the person who invented the page number and applied it to an index! I learned that the way I organize my records—separating by genre, then alphabetical by artist, then chronological by release—is an indexing method that goes back to the 1300s.  The juiciest bits come when Duncan talks about how rival intellectuals and writers in the 18th and 19th centuries would make their own index to other writers’ books as a way to attack them. Such as ‘Flowers, Smith’s complete lack of knowledge about.’ Every book nerd should read this.”

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Director of Marketing, Sales and Finance Cason Lynley highly recommends Kira Jane Buxton’s most recent novel, Tartufo. “Tartufo felt like a little holiday in the form of a book. Set in the beautiful medieval village of Lazzarini Boscarino, as nearly every character describes it when they mention the name of the village, the village is failing. Young people have left and only a small group of older villagers remain who are searching for ways to revitalize their village when their local truffle hunter discovers the world’s largest white truffle and an international auction invades the village, promising both financial gain and visibility to tourists. The cast of characters are delightful including the 22-year old mule, Maurizio, who is also a candidate for mayor, along with the descriptions of mouth-watering food (yes, I ate a lot of pasta while reading this) and the beautiful countryside.”

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Books Marketing Manager Laura Sell suggests Lake Effect by Cynthia D’Aprix Sweeney, calling it a perfect summer read. “A smoothly written domestic novel, it goes down like a nice rosé. It explores what happens when two families in a Rochester neighborhood in 1977 are overtaken by the sexual revolution. Like the lake effect snows of the region, the actions of two characters dump a huge storm on their families with repercussions that continue for years.”

What are you reading this Summer? Let us know in the comments!

New Books in July

No matter where or how you choose to escape the summer heat, we have you covered. Check out the great new titles coming out this July.

Making Gay History recounts John D’Emilio’s career as a public historian, activist, and academic. Tracing his involvement in developing LGBTQ history from the 1970s to the 1990s, D’Emilio paints a queer history both personal and national that helps us understand how the LGBTQ movement has grown.

In Cisgender, Perry Zurn turns an incisive yet playful eye toward the “norm” against which transgender gets defined. Utilizing unplumbed archives and fresh interviews, Zurn offers a critical history of the term cis. This unique examination of cisgender is a must-read for all readers invested in trans life and the futures of gender.

Written by longtime climber Hil Malatino, Climbing explores gender, class, and sizeism in climbing culture, as well as grief, addiction, queer and trans-worldmaking, and the tensions between conservation and recreation. Climbing teases out how the art of navigating across rock can help us learn how to revel in being weird, vulnerable, and radically interdependent animals temporarily gifted the complicated tragicomedy of a body.

In Going to the Moon, poet Sally Ashton marvels at the Moon’s powerful influence since the dawn of humanity—how we have, in our own ways, gone to the Moon, and what we have found. Contemplating lunar settlement in the light of history, culture, the rise of the space industry, and geopolitical conflict, Ashton shares her sense of wonder at the simple beauty of our unchanged Moon and reveals what is at stake in our contemporary attempts to colonize it.

In Alfredo Jaar, Florencia San Martín analyzes the work of the prominent Chilean-born artist Alfredo Jaar, whose work challenges the linear and triumphalist temporality of Western modernity that obscures the violence of colonization and globalization. Alfredo Jaar enables us to reimagine art history, offering a fresh paradigm with which to think about global contemporary art.

The Future of Totality, edited by Nicholas Brown, Maria Elisa Cevasco, Fabio Akcelrud Durão, and Robert T. Tally, brings together a selection of Fredric Jameson’s former students and other prominent scholars to represent future directions of Jamesonian thought. Serving both as a tribute to the scholar and as a space for thinking about the future of his work, these essays explore new and unforeseen dimensions to which Jameson’s work leads.

Placing pressure on what it means to “do” feminist philosophy, Feminist Making, Doing, and Sensing, edited by Lauren Guilmette and Ada S. Jaarsma, offers an innovative and critical rethinking of feminist philosophical practice and feminist philosophy as a discipline. The collection raises questions about how disciplines are made, how philosophy gets done, and the collaborative nature of thinking.

Inside the Body of Black Feminism connects historical studies of medical racism with Black feminist theories of the body to reimagine the material and metaphoric possibilities for political subjectivity across race, gender, and culture. Working through materials such as medical textbooks, memoirs, data visualizations, museum displays, speculative fiction, and horror films, Samantha Pinto explores how a visually inaccessible corporeal interior becomes discernible and racialized in the public sphere.

Providing a feminist ethnography of land politics, Surviving the State considers how the everyday, land-based practices of farmers in Myanmar’s Kalay Valley enables them to endure successive authoritarian regimes. Through robust ethnography, Hilary Oliva Faxon considers the centrality of land both to state efforts at control and to inhabitants’ ability to articulate claims.

Resurgency examines how Iraqi farmers outlast the long shadow of US military intervention as they return to repair their war-damaged homeland. Based on detailed ethnographic research, Kali Rubaii expands the temporal and descriptive definitions of war, displacement, and resistance.

In We Live with the Sea, Andrew Littlejohn addresses the implementation and controversy surrounding safety infrastructures following the March 2011 tsunami in northeastern Japan. Focusing on the tsunami survivors who resisted government plans for increased coastal defenses, Littlejohn argues that imposed modernist safety structures undermine the very things they claim to protect.

A critical and ethnographic exploration of wildfire management in Australia, one of Earth’s most fire-prone countries, Timothy Neale’s How to Control Fire on a Burning Continent ties contemporary wildfire problems to ongoing colonization and Indigenous dispossession, exploring Indigenous-led land management and cultural burning as a practical assertion of sovereignty.

July Author Events

Cover of P FKN R: How Bad Bunny Became the Global Voice of Puerto Rican Resistance by Vanessa Díaz and Petra R. Rivera-Rideau. The title is in large white and yellow letters against a background featuring the Puerto Rican flag colors—red, white, and blue. The subtitle reads is highlighted in a black and yellow box. An illustration of Bad Bunny wearing a yellow outfit and a large straw hat, holding a microphone with yellow lightning bolts emanating from it is in the lower half. The authors' names are displayed at the bottom in red and blue text.

July is a fairly quiet month for author events, but we do have a few to share. And if you can’t make it to an event, we suggest you grab a book and read it by the pool, on the beach, or inside in the A/C. Look for our new books in July tomorrow and our summer reading recommendations on Thursday.

July 2, 6 pm GMT: Tariq Goddard, author of Publishing, appears in-person at a screening of We Are Making a Film About Mark Fisher. Mayflower Studios, Above Bar Street, Southampton 

July 9, 3 pm EDT: Vanessa Díaz and Petra Rivera-Rideau, authors of P FKN R, are joined by Carmen Rojas for an online discussion as part of the Marguerite Casey Foundation book club. Preregistration is required and the first 400 registrants receive a free copy of the book.

July 11, 5 pm : Vanessa Díaz and Petra Rivera-Rideau, authors of P FKN R, appear in-person at the Clemente Museum. Advance ticket purchase is required. 3339 Penn Avenue, Pittsburgh, Pennsylvania

July 22, 5:30 pm CEST: Gökçe Günel, author of Floating Power, and Andrew Littlejohn, author of We Live with the Sea, host a launch party for their books at the European Association of Social Anthropologists. Kontener Art, Ewangelicka, 61-856 Poznań, Poland

The Artist-Philosopher | The Weekly Read

The Weekly Read for June 27, 2026, is “The Artist-Philosopher: Sylvia Wynter’s Aesthetic Continuity and the Creative Act of Decolonial Theory” by manuel arturo abreu. The article appears in Sylvia Wynter and the Question of Technology, a special issue of Social Text (167) edited by Che Gossett and Tavia Nyong’o.

Read this article for free through September 30, 2026.
Buy this issue and use code SAVE30 for a 30% discount.

Cover of Social Text 167 featuring sculptural arrangement of curved metal tools against a white gallery wall and wooden floor

Abstract
On the basis of an analysis of her unpublished manuscript Black Metamorphosis, the author, a nondisciplinary artist who attends to ritual aspects of aesthetics, argues that Sylvia Wynter never stopped being an artist. She is a language-centric artist with a functionalist aesthetic and a decolonial bent, and the manuscript indicates an interest in music, performance, and narrative (time-based mediums of worlding). The article examines certain lines of flight regarding sound and performance, as well as shades of an ontology of vital rhythm in her manuscript. Sometimes framed as a site of change regarding the status of Wynter (e.g., from artist to philosopher), the manuscript serves instead as a crucial indicator of the continuity of Wynter’s creative inquiry regarding the narrative condition of being human, and her commitment for generating analytic tools and spaces for consecrating alternative narratives and transforming consciousness. After troubling the divide between orality and textuality that emerges when trying to situate the manuscript (as written or textual object) in relation to the oral and aural, the author elaborates on a notion from Tavia Nyong’o, that Black Metamorphosis is a fetish. That is, it embodies the properties of certain Black Atlantic ritual practices it analyzes: the work is a tool in the sacred maroon world-building process of rewriting the human, a performance script that, like all the best fetishes in Black American anthropologist J. Lorand Matory’s analysis, is ambivalent.

Social Text is a peer-reviewed journal that covers a broad spectrum of social and cultural phenomena, applying the latest interpretive methods to the world at large. A daring and controversial leader in the field of cultural studies, the journal consistently focuses attention on questions of gender, sexuality, race, and the environment, publishing key works by the most influential social and cultural theorists. As a journal at the forefront of cultural theory, Social Text seeks provocative interviews and challenging articles from emerging critical voices. Each issue breaks new ground in the debates about postcolonialism, postmodernism, and popular culture.

The Weekly Read is a feature that highlights articles, books, and chapters freely available online. You can find a link to the selection here on the blog, as well as on our social media channels. Enjoy The Weekly Read, and check back next week for something new to read for free.

Celebrating DUP’s Iconic Book Designs

At Duke University Press, we are proud to have a long tradition of award-winning book design. Our designers are regularly honored by the Association of University Presses and Spine Magazine. As part of our Centennial celebration, we asked our book designers to select a few titles that have stood out to them over the years as the most iconic, most “Duke” designs.

Amy Ruth Buchanan, longtime book designer and current Director of Editing, Design, and Production, chose three individual titles as well as a matching pair of books to highlight.

Margaret Hillenbrand, Negative Exposures, 2020
Designed by Courtney Leigh Richardson
The Hillenbrand cover is iconic DUP and iconic CLR. I love the subtle, quiet design that alludes to the practices of “public secrecy” the book examines. Courtney is known in the design team for her love of delicate type and it is used really effectively here. The use of the black bars, X’s, blurred archival photos, and circles continues through to the interior design as well. Pretty much perfect.

David Kaczynski, Every Last Tie, 2016
Designed by Heather Hensley
I love the way Heather captured somberness and tenderness without overdoing either approach. The argyle reference in the use of broad diamond shapes is a restrained nod to the the Kaczynski’s 50s childhoods, and it’s used with slight variations on the spine and interior. The slightly uncomfortable cropping of the photo to me reads as David “slipping away.” The parakeet looking off to the left is enigmatic and precarious. 

John Corbett, Vinyl Freak, 2017
Cover design by Matt Tauch
I did the interior for this one but thank goodness Matt did the cover: it is so incredibly cool, it’s iconic. The collaged, found type over the grainy 1970 Mauricio Kagel photo is a great vibe.

Grant Kester, The Sovereign Self, 2023
Grant Kester, Beyond the Sovereign Self, 2023
Designed by Mattson Gallagher
Mattson’s paired designs for these two Kester volumes are energetic, odd, and very grabby. Some of my favorite type-only covers of recent years.

Designer Matthew Tauch: In honor of the ongoing American Dance Festival, I’m highlighting the cover for Jane C. Desmond’s Meaning in Motion from 1997. The designer is uncredited, but we think it was former art director Mary Mendell. Post-modern/pre-millennial design has been of particular interest lately, and this design is an expertly executed example of some charming, as well as esoteric aspects of that period — energetic/expressive typography, figures as objects (charming); mixed weights in place of upper/lowercase, in Futura of course (esoteric). What’s not to love?

Designer Mattson Gallagher: I’ll nominate Michael Burawoy’s Symbolic Violence, designed by Drew Sisk in 2019. The book’s title could also be a nice, reflexive description of the design, which interrupts a quiet layout with a dramatic, bolder one. The ‘background’ cover also echoes the style of several of Bourdieu’s own books, putting our book in that context, while the second layer reminds that our book is a new intervention.

Designer Courtney Richardson: I am picking Eugeine Brinkema’s The Forms of the Affects. This is an Amy Buchanan cover from 2014, and I feel like Aimee Harrison fleshed out the interior? The cover is iconic because it’s genius in it’s execution. Simple, yet, stunning, using those little circles to make you zoom in on that tear. The color palette, type choice, and arrangement are deliciously perfect. 

Art Director Dave Rainey chose to focus on two series with integrated designs, Singles and Practices.

In the winter of 2022 Mattson Gallagher and I were discussing cover design concepts for an upcoming series about “practices” that authors pursue “out of sheer love and fascination” and he floated the idea of having each author handwrite the lettering for their cover. The concept seemed perfect for the series and maybe impossible. Mattson created a process where he mails each author a Sharpie marker, instructions, and paper to practice on, then has them send the package back to us, and we scan and digitize the lettering. Mattson then sizes the lettering and choses a color theme. The result is such a unique, collaborative, and human design experience, one I’m so glad to have been able to advocate for. Big thanks to series editor Margret Grebowicz and senior editor Elizabeth Ault for supporting this idea when it was risky and untested. 


Matt Tauch is known as an artist and master screen printer as well as a senior book designer at DUP and he applies all of his considerable skills for the covers of our series that “tells a complex story about a single song.” Matt creates a new illustrated pattern, inspired by the title song of each volume, in intense color and shape. When a new title is added to the series, we all get excited to see what Matt will conjure up! The series design has also been selected for the Association of University Presses 2026 Book, Jacket, and Journal Show on view now at the AUPresses annual meeting in Seattle. 

There are so many other iconic DUP designs (Amy Ruth Buchanan’s covers for Lauren Berlant’s Cruel Optimism and for Jack Halberstam’s The Queer Art of Failure come immediately to mind). What are your favorites?

We are grateful to our Centennial Sponsors for their generous support, with special recognition of our President’s Circle sponsor, Ingram Content Group.