Columbia Fall 2021
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COLUMBIA FALL 2021 INTERNATIONAL CONTENTS Dear Readers, Trade and General Interest . 1 As we cautiously look forward to emerging from the pandemic, New in Paper . 44 the books announced in this season’s catalogue help us take Politics . 50 stock of what we have learned and provide guidance on what History . 52 might be next. Sociology . 56 The Wuhan Lockdown (p. 28) takes us back to the beginning of Asian Studies . 60 the crisis, and The Long Year (p. 9) brings a range of perspectives Religion . 64 on how the virus exacerbated the world’s preexisting conditions. Philosophy . 66 Critique Under Crisis (p. 41), coedited by Columbia’s Axel Literary Studies . 68 Honneth, recasts the meaning of crisis. Film Studies . 70 Wallflower . 72 The catalogue features accomplished Columbia University Social Work . 73 authors, including Eric R. Kandel, who tells us, yes, There Is Lincoln Institute of Land Policy . 74 Life After the Nobel Prize (p. 2). Andie Tucher of the Journalism Tulika Books . 76 School explores the long history of “fake news” in Not Exactly Hitchcock Annual . 79 Lying (p. 25). Two sustainability primers from Columbia’s Earth Association for Asian Studies . .. 80 Institute—Managing Environmental Conflict and Sustainable Marie Curie-Skłodowska University Press . .. 82 Food Production (p. 16)—emphasize the importance of resilience. Jagiellonian University Press . 83 For readers looking for summer reading that is gripping and Author / Title Index . 86 thought-provoking, I suggest David Hajdu and John Carey’s Subagents .. 88 A Revolution in Three Acts (p. 1), a graphic nonfiction page- turner about transgressive vaudeville performers whose stories feel strikingly modern. The Backstreets (p. 19), from the Uyghur novelist Perhat Tursun, reads like a lost modernist classic while speaking to an urgent human rights issue. And for those who relished the urban outdoors during the long months of social distancing—or who are just now venturing back outside— Buried Beneath the City (p. 6) and Before Central Park (p. 7) show us New York City in a new light. In order to publish these powerful and timely books, we rely on the Columbia University community, our partners, and our readers. Thank you for helping support our books and our mission—and I look forward to saying so in person. Jennifer Crewe Associate Provost and Director FOLLOW US ON SUPPORT COLUMBIA UNIVERSITY PRESS Twitter, Facebook, or our blog: JOIN THE PUBLISHER’S CIRCLE twitter com/ColumbiaUP. facebook com/ColumbiaUniversityPress. 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MAP: David Rumsey Map Collection, David Rumsey Map Center, Stanford Libraries To make a gift online, please visit cup.columbia.edu/development A Revolution in Three Acts The Radical Vaudeville of Bert Williams, Eva Tanguay, and Julian Eltinge DAVID HAJDU AND JOHN CAREY Foreword by Michele Wallace A GRAPHIC NARRATIVE ABOUT THREE PERFORMERS WHO REDEFINED AMERICAN CULTURE Bert Williams—a Black man who performed in blackface while challenging the stereotypes of minstrel shows. Eva Tanguay—an entertainer with the signature song “I Don’t Care” who flouted the rules of propriety to redefine modern womanhood. Julian Eltinge—a female impersonator who entranced and unnerved audiences by embodying the feminine ideal Tanguay rejected. At the turn of the twentieth century, they became three of the most provocative and popular performers in vaudeville, “A Revolution in Three Acts is the form in which American mass entertainment as a window into a bygone era of we know it first took shape. American entertainment. Here is A Revolution in Three Acts explores how these vaudeville and all its comic, dramatic, vaudeville stars defied the standards of their time to and tragic dimensions as witnessed in change how their audiences thought about what it the lives of three of its most pivotal meant to be American, to be Black, to be a woman practitioners. David Hajdu and John or a man. The writer David Hajdu and the artist Carey have not simply crafted an John Carey collaborate in this work of graphic elegy for an art form, they have nonfiction, crafting powerful portrayals of Williams, Eltinge, and Tanguay and showing how they chronicled the figures whose talent transformed American culture. Hand-drawn images made it great in the first place.” give vivid visual form to the lives and work of the —Jelani Cobb book’s subjects and their world. This book is at once a deft telling of three intricately “This vivid book offers the tales entwined stories, a lush evocation of an entertain- and truths of pioneering performers ment milieu with unabashed entertainment value, who challenged the rules of race, and an eye-opening account of a key moment in gender, and sexuality, remaking American cultural history with striking parallels to American art and history and culture present-day questions of race, gender, and sexual in the process.” identity. —Margo Jefferson DAVID HAJDU is a professor at the Columbia Journalism School. His books include Lush Life: A Biography of Billy Strayhorn (1996); Positively 4th Street: The Lives and Times of Joan Baez, Bob Dylan, Mimi Baez Fariña, and Richard Fariña (2001); and Adrianne Geffel: A Fiction (2020). $19.95t / £14.99 cloth 978-0-231-19182-1 $18.99t / £14.99 e-book 978-0-231-54954-7 JOHN CAREY is a painter and cartoonist. He was the editorial cartoon- SEPTEMBER 200 pages / 8.5" x 11" ist for Greater Media Newspapers for many years. HISTORY / GRAPHIC NONFICTION All Rights: Columbia University Press CUP . COLUMBIA .EDU | 1 There Is Life After the Nobel Prize ERIC R. KANDEL A NOBELIST RELATES HIS FURTHER SCIENTIFIC CAREER AND FORAYS INTO SCIENCE COMMUNICATION One day in 1996, the neuroscientist Eric R. Kandel took a call from his project officer at the National Institute of Mental Health, who informed him that he had been awarded a key grant. Also, the officer said, he and his colleagues thought Kandel would win the Nobel Prize. “I hope not soon,” Kandel’s wife, Denise, said when she heard this. Sociologists had found that Nobel recipients often did not contribute much more to science, she explained. In this book, Kandel recounts his remarkable career since receiving the Nobel in 2000—or his experience of proving to his wife that he was not “Kandel is a scientific giant. yet “completely dead intellectually.” He takes readers As in his other wonderful books, through his lab’s scientific advances, including he has a fascinating tale to tell research into how long-term memory is stored in the brain and age-related memory loss as well as the in this one, and does it well. neuroscience of drug addiction and schizophrenia. A great story to read.” Kandel relates how the Nobel gave him the oppor- —Joseph E . LeDoux, Henry and Lucy tunity to reach a far larger audience, which in turn Moses Professor of Science, New York allowed him to discover and pursue new directions. University, and author of The Deep History He describes his efforts to promote public under- of Ourselves: The Four-Billion-Year Story of standing of science and to put brain science and art How We Got Conscious Brains into conversation. Kandel also discusses his return to Austria, which he had fled as a child, observing its coming to terms with the Nazi period. Showcasing Kandel’s accomplishments, erudition, and wit, There Is Life After the Nobel Prize is a candid account of the working life of an acclaimed scientist. ERIC R. KANDEL is University Professor and Kavli Professor in the De- partments of Neuroscience, Biochemistry and Molecular Biophysics, and Psychiatry at Columbia University, where he is also director of the Kavli Institute for Brain Science and codirector of the Mortimer B. Zuckerman Mind Brain Behavior Institute. In 2000, he was awarded the Nobel Prize in Physiology or Medicine. His books include Reductionism in Art and Brain Science: Bridging the Two Cultures (Columbia, 2016). $19.95t / £14.99 cloth 978-0-231-20014-1 $18.99t / £14.99 e-book 978-0-231-55346-9 JANUARY 160 pages / 5.06" x 7.81" / 8 figures SCIENCE / MEMOIR World English-language Rights: Columbia University Press; All Other Rights: The Wylie Agency 2 | FALL 2021 Racism, Not Race Answers to Frequently Asked Questions JOSEPH L. GRAVES JR. AND ALAN H. GOODMAN WHAT “RACE IS A SOCIAL CONSTRUCT” REALLY MEANS The science on race is clear. Common categories like “Black,” “white,” and “Asian” do not represent genetic differences among groups. But if race is a pernicious fiction according to natural science, it is all too significant in the day-to-day lives of racialized people across the globe. What do we need to know about the pseudoscience of race in order to fight racism and fulfill human potential? In this book, two distinguished scientists tackle common misconceptions about race, human biology, and racism. Using an accessible question-and- answer format, Joseph L. Graves Jr. and Alan H. Goodman explain the differences between social “In Racism, Not Race, Graves and and biological notions of race. Although there Goodman lay out comprehensively are many meaningful human genetic variations, and accessibly that notions of they do not map onto socially constructed racial race as applied to humans are categories.