Virtual Library

For years, it had been what is called a "deteriorating situation." Now all over South Africa the cities are battlegrounds. The members of the Smales family--liberal whites--are rescued from the terror by their servant, July, who leads them to refuge in his village. What happens to the Smaleses and to July--the shifts in character and relationships--gives us an unforgettable look into the terrifying, tacit understandings and misunderstandings between blacks and whites. 

Over 84,000 black and brown lives are needlessly lost each year due to health disparities, the unfair, unjust, and avoidable differences between the quality and quantity of health care provided to Americans who are members of racial and ethnic minorities and care provided to whites. Health disparities have remained stubbornly entrenched in the American health care system--and in Just Medicine, Dayna Bowen Matthew finds that they principally arise from unconscious racial and ethnic biases held by physicians, institutional providers, and their patients. Implicit bias is the single most important determinant of health and health care disparities. Because we have missed this fact, the money we spend on training providers to become culturally competent, expanding wellness education programs and community health centers, and even expanding access to health insurance will have only a modest effect on reducing health disparities. [...] In this book, she unites medical, neuroscience, psychology, and sociology research on implicit bias and health disparities with her own expertise in civil rights and constitutional law. Just Medicine offers us a new, effective, and innovative plan to regulate implicit biases and eliminate the inequalities they cause, and to save the lives they endanger.

After the attacks of September 11, 2001, the plight of Afghan women under Taliban rule was widely publicized in the United States as one of the humanitarian issues justifying intervention. Kabul Carnival explores the contradictions, ambiguities, and unintended effects of the emancipatory projects for Afghan women designed and imposed by external organizations. Building on embodiment and performance theory, this evocative ethnography describes Afghan women's responses to social anxieties about identity that have emerged as a result of the military occupation.

Offering one of the first long-term on-the-ground studies since the arrival of allied forces in 2001, Julie Billaud introduces readers to daily life in Afghanistan through portraits of women targeted by international aid policies. Examining encounters between international experts in gender and transitional justice, Afghan civil servants and NGO staff, and women unaffiliated with these organizations, Billaud unpacks some of the paradoxes that arise from competing understandings of democracy and rights practices. Kabul Carnival reveals the ways in which the international community's concern with the visibility of women in public has ultimately created tensions and constrained women's capacity to find a culturally legitimate voice.

Cinema has long shaped not only how mass violence is perceived but also how it is performed. Today, when media coverage is central to the execution of terror campaigns and news anchormen serve as embedded journalists, a critical understanding of how the moving image is implicated in the imaginations and actions of perpetrators and survivors of violence is all the more urgent. If the cinematic image and mass violence are among the defining features of modernity, the former is significantly implicated in the latter, and the nature of this implication is the book's central focus.

This book brings together a range of newly commissioned essays and interviews from the world's leading academics and documentary filmmakers, including Ben Anderson, Errol Morris, Harun Farocki, Rithy Phan, Avi Mograbi, Brian Winston, and Michael Chanan. Contributors explore such topics as the tension between remembrance and performance, the function of moving images in the execution of political violence, and nonfiction filmmaking methods that facilitate communities of survivors to respond to, recover, and redeem a history that sought to physically and symbolically annihilate them

In 1997, this groundbreaking book made a powerful entrance into the national conversation on race. In a media landscape dominated by racially biased images of welfare queens and crack babies, Killing the Black Body exposed America's systemic abuse of Black women's bodies. From slave masters' economic stake in bonded women's fertility to government programs that coerced thousands of poor Black women into being sterilized as late as the 1970s, these abuses pointed to the degradation of Black motherhood--and the exclusion of Black women's reproductive needs in mainstream feminist and civil rights agendas.

More than 35 years after its release, Kindred continues to draw in new readers with its deep exploration of the violence and loss of humanity caused by slavery in the United States, and its complex and lasting impact on the present day. Adapted by celebrated academics and comics artists Damian Duffy and John Jennings, this graphic novel powerfully renders Butler's mysterious and moving story, which spans racial and gender divides in the antebellum South through the 20th century.

Butler's most celebrated, critically acclaimed work tells the story of Dana, a young black woman who is suddenly and inexplicably transported from her home in 1970s California to the pre-Civil War South. As she time-travels between worlds, one in which she is a free woman and one where she is part of her own complicated familial history on a southern plantation, she becomes frighteningly entangled in the lives of Rufus, a conflicted white slaveholder and one of Dana's own ancestors, and the many people who are enslaved by him.

Held up as an essential work in feminist, science-fiction, and fantasy genres, and a cornerstone of the Afrofuturism movement, there are over 500,000 copies of Kindred in print. The intersectionality of race, history, and the treatment of women addressed within the original work remain critical topics in contemporary dialogue, both in the classroom and in the public sphere.

Frightening, compelling, and richly imagined, Kindred offers an unflinching look at our complicated social history, transformed by the graphic novel format into a visually stunning work for a new generation of readers.

Assia Djebar L'Amour, la fantasia Nous glissons du passé lointain au passé proche, de la troisième personne à la première ; extraordinaire évocation du père, instituteur de français, de la mère, des cousines, des femmes cloîtrées vives et dont le cri et l'amour nous poursuivent.
Assia Djebar, sans conteste la plus grande romancière du Maghreb, nous donne ici son oeuvre la plus aboutie.


De l'odeur d'amour, de viol plus que de séduction, de l'émotion de la prise d'Alger, il y a cent cinquante ans, à l'arrachement d' il y a vingt ans, c'est comme si la voix d'une femme appelée Algérie venait nous crier ce qui échappe aux historiens, aux analystes, aux commentateurs, aux politiques, bref aux hommes. [...] Un beau livre comme celui-ci, entre la France et l'Algérie, écrit dans un français somptueux, tel qu'il brûle et rayonne entre nos mains, et, malgré le crime, le sang, tous les déchets de l'imposture, c'est du pain partagé.
Jean David, V.S.D.

On the subjects of Vichy France and the Shoah, we thought we knew everything. This book shows that there is still much to discover. Answering a series of key questions, Laurent Joly rereads the history of the persecution of Jews under the Nazi Occupation and dispels many preconceived ideas.

He re-interrogates a number of key questions. For instance, in the summer of 1940, why did Marshal Pétain's regime initiate a politics of antisemitism without Nazi pressure? Why did Pétain agree to collaborate in the massive deportations of Jews throughout France from Paris to the unoccupied zone? To what extent did the Vichy administration collaborate in the genocide of its Jews?

Relying on archival sources, Joly returns agency to French actors from state leaders to policemen, all the while emphasizing the impact of their decisions. In turn, Joly writes a history from the perspectives of perpetrators, victims and witnesses.

Readers learn that the October 1940 antisemitic statute was not simply a codification of a long French antisemitic tradition. Joly argues, to the contrary, that Vichy sought, above all, to imitate the Nazi model. On the subject of the Vélodrome d'Hiver Round-Up, Joly retells the horrors of July 16-17, 1942 from the point of view of the Paris police charged with arresting the Parisian Jews from their homes. Lastly, Joly suggests that historians must further nuance the idea that the persecution of the French Jews became overshadowed in the post-war era by the "Épuration," or legal purge of French collaborators.

While researching the life of a writer, a biographer accidentally discovers thousands of letters of denunciation. Written during the Occupation, these letters are not yet open for public consultation. Among the letters, the biographer recognizes the name of a friend, a shopkeeper whose family was deported to Auschwitz.
Who denounced the family and what compelled them to do so? The name of the informer appears in the files. A name, but not a motive. The culprit is someone close to the family. Revealing their identity would mean denouncing them in return. Moreover, some would prefer to let the past pass and not wake old demons.

The novel takes takes place in Paris's 15th arrondissement between three stores, a bistro, a church, and a bus. It is a reflection of post-Occupation France, its silences and its ommissions, in micro-form.  

A haunting meditation on the banality of evil, Assouline tells the story of a man obsessed with unveiling the truth, no matter its consequences. 

In La Disparition, the l’OuLiPo author, Georges Perec writes an entire novel without using the letter “e.” The constraint Perec sets himself is built off the equation whereby the disappearance of the letter “e” equals the disappearance of “eux [them],” referring to his parents who disappeared in Auschwitz. The novel in turn is dedicated to “eux.” La Disparition itself tells the story of Anton Voyl, a man who himself has disappeared and left behind him a trail of mysterious notes.