Here are 100 books that Fight or Flight fans have personally recommended if you like
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I’ve spent most of my career teaching and writing about French history. In the 1990s, it became belatedly clear to me and other French historians that France shouldn’t be understood purely as a European nation-state. It was an empire whose imperial ambitions encompassed North America, the Caribbean, Africa, Indochina, and India. By the twentieth century, and especially after 1945, large numbers of people from those colonial places had emigrated to mainland France, claiming to belong to that country and asserting the right to live there. Their presence produced a great deal of political strife, which I wanted to study by looking at France’s colonial past.
In this superb, prize-winning book, Cooper shows that despite France’s often gruesome treatment of its African colonies, its postwar leaders tried to make amends. After taking power in 1958, Charles de Gaulle gave each of France’s African territories three choices: 1) full departmental status within the French Republic (à la Martinique and Guadeloupe); 2) internal autonomy and democratic self-government in a newly dubbed French Community modeled on the British Commonwealth; 3) complete independence with a cutoff of all financial assistance. Every territory voted for option 2, except Guinea, which chose independence. Although the Community option ultimately fell apart, Cooper shows nonetheless that there was nothing inevitable about the devolution of France’s African empire into a series of independent nation-states.
As the French public debates its present diversity and its colonial past, few remember that between 1946 and 1960 the inhabitants of French colonies possessed the rights of French citizens. Moreover, they did not have to conform to the French civil code that regulated marriage and inheritance. One could, in principle, be a citizen and different too. Citizenship between Empire and Nation examines momentous changes in notions of citizenship, sovereignty, nation, state, and empire in a time of acute uncertainty about the future of a world that had earlier been divided into colonial empires. Frederick Cooper explains how African political…
I’ve been passionate about wine since I was a teenager in New Zealand and I now teach and write about it, judge in wine competitions, and travel the world to visit wine regions. I teach European history and the history of food and drink at Carleton University in Ottawa, Canada. As a wine historian, I spend weeks each year in archives, studying everything from changes in vineyard area and the weather in specific years to the taxation of wine and patterns of wine drinking. Currently, I’m working in several French archives for a book on wine in the French Revolution. It will be my ninth wine book.
Owen White’s excellent book has given Algerian wine the place it deserves in the wine history of both Algeria and France. Wine production, introduced to Algeria by French settlers in the late 1800s, was an anomaly because the majority Muslim population of the colony did not drink. But it became essential to the French wine industry because it was commonly blended with the then-anemic wines of southern France to make wines with colour and strength. Even so, many French wine producers regarded Algeria as a rival and there was a constant tension between producers who needed Algerian wine and those who resented it. It was resolved when Algeria won independence from France and the wine industry there went into steep decline.
The surprising story of the wine industry's role in the rise of French Algeria and the fall of empire.
"We owe to wine a blessing far more precious than gold: the peopling of Algeria with Frenchmen," stated agriculturist Pierre Berthault in the early 1930s. In the last decades of the nineteenth century, Europeans had displaced Algerians from the colony's best agricultural land and planted grapevines. Soon enough, wine was the primary export of a region whose mostly Muslim inhabitants didn't drink alcohol.
Settlers made fortunes while drawing large numbers of Algerians into salaried work for the first time. But the…
I am a professor who holds a Ph.D. in American history. I researched several archives in the United States and Paris, France to write this book and I am very proud of it. I was inspired to write this story mainly from listening to the friends of my parents, when I was younger, who went to war in Vietnam and came back broken yet committed to making the world a better place. The kindness they showed me belied the stories they shared of their harrowing experiences and I wanted to understand how this divergence happened in men that rarely spoke of their past.
Rothberg is not a historian but I love what he accomplished with this scholarly book. He examines film, literature, and paintings to suggest that our memories are multidirectional: meaning they often move in different directions at the same time. This allows him to place the holocaust side-by-side the colonial/decolonial project and produce a devastating story of how each fed upon the other. For example, he looks at moments in 1960s Paris that places Jewish survivors of Auschwitz in conversation with Algerian survivors of French concentration camps during the Algerian war to suggest their memories could work together to produce an honest remembrance of the past. I try to do something similar in my own book by illustrating how the war dead could link domestic and foreign places together in building an American Empire.
Multidirectional Memory brings together Holocaust studies and postcolonial studies for the first time. Employing a comparative and interdisciplinary approach, the book makes a twofold argument about Holocaust memory in a global age by situating it in the unexpected context of decolonization. On the one hand, it demonstrates how the Holocaust has enabled the articulation of other histories of victimization at the same time that it has been declared "unique" among human-perpetrated horrors. On the other, it uncovers the more surprising and seldom acknowledged fact that public memory of the Holocaust emerged in part thanks to postwar events that seem at…
I am an award-winning historian and philosopher of the human sciences. But I got here by means of an unusually varied path: working for a private investigator, practicing in a Buddhist monastery, being shot at, hiking a volcano off the coast of Africa, being jumped by a gang in Amsterdam, snowboarding in the Pyrenees, piloting a boat down the canals of Bourgogne, playing bass guitar in a punk band, and once I almost died from scarlet fever. Throughout my journey, I have lived and studied in five countries, acquired ten languages, and attended renowned universities (Oxford, Harvard, and Stanford), all while seeking ways to make the world a better place.
Chakrabarty’s monograph is a classic work of postcolonial theory.
Basically, it shows that despite their pretensions to universality, a lot of the humanities and social sciences have been founded on unexamined Eurocentric perspectives on world history. While modernity is often held up as a universal standard, Chakrabarty unmasks the widely held assumptions about “sovereignty,” “disenchanted space,” and “secular time,” as European constructs.
Famously, he also shows how the transition to capitalism was an act of translation that changed the way people saw the world and their relationship to each other. This book can be hard going, but it is very much crucial reading as it really undercuts some of the most widely held myths of modernity.
First published in 2000, Dipesh Chakrabarty's influential Provincializing Europe addresses the mythical figure of Europe that is often taken to be the original site of modernity in many histories of capitalist transition in non-Western countries. This imaginary Europe, Dipesh Chakrabarty argues, is built into the social sciences. The very idea of historicizing carries with it some peculiarly European assumptions about disenchanted space, secular time, and sovereignty. Measured against such mythical standards, capitalist transition in the third world has often seemed either incomplete or lacking. Provincializing Europe proposes that every case of transition to capitalism is a case of translation as…
I have been professionally involved with contemporary art since the 1980s, when I was a curator at the Institute of Contemporary Art in Boston. In the forty years since I've seen an enormous shift in the orientation of American curators and scholars from Western art to a global perspective. After earning my PhD at Harvard, and writing several books on contemporary art, I wanted to tackle the challenge of a truly comparative contemporary art history. To do so, I've depended on the burgeoning scholarship from a new more diverse generation of art historians, as well as on many decades of travel and research. My book Heritage and Debt is an attempt to synthesize that knowledge.
This is the best account I know of the double bind that artists subjected to settler forms of colonialism have had to endure. Taking Nigerian modern art as his case study, this eminent Africanist art historian shows how, on the one hand, colonial officials attempted to abolish the indigenous artistic heritage as "savage," or "primitive," while simultaneously blocking African artists from a European art education. To become modern required a negotiation between these dual limitations and ended up producing something very different from Western modernism.
Written by one of the foremost scholars of African art and featuring 129 color images, Postcolonial Modernism chronicles the emergence of artistic modernism in Nigeria in the heady years surrounding political independence in 1960, before the outbreak of civil war in 1967. Chika Okeke-Agulu traces the artistic, intellectual, and critical networks in several Nigerian cities. Zaria is particularly important, because it was there, at the Nigerian College of Arts, Science and Technology, that a group of students formed the Art Society and inaugurated postcolonial modernism in Nigeria. As Okeke-Agulu explains, their works show both a deep connection with local artistic…
We are Witches. Real Witches, doing real magic, casting spells, and weaving webs. We are Amy Torok and Risa Dickens–the co-creators of the Missing Witches project, researching what it means to be a Witch. Together, we have put out almost 300 podcast episodes and published two books and an oracle deck of cards: Missing Witches: Recovering True Histories Of Feminist Magic, New Moon Magic: 13 Anti-capitalist Tools for Resistance and Re-enchantment, and The Missing Witches Deck of Oracles: Feminist Ancestor Magic for Meditations, Divination and Spellwork. Our first book appeared on VICE Magazine’s list: The Best Books for Starting an Occult Library.
In this book, Christopher Marmalejo entranced us with a singular take on investigating tarot cards through a queer and Indigenous lens. Exploring cartomancy as a mirror to understand lived experience, Christopher brings to light a practice that is unafraid to confront, listen, critique, and unveil.
We love how Christopher’s personality shines through this thoroughly academic yet approachable description of tarot cards and their uses. Reading it filled us with hope for a future of liberation and ideas of how we can make that happen.
Designed to be used with any deck, Red Tarot is a radical praxis and decolonized oracle that moves beyond self-help and divination to reclaim tarot for liberation, self-determination, and collective healing.
For readers of Postcolonial Astrology and Tarot for Change
Red Tarot speaks to anyone othered for their identity or ways of being or thinking—LGBTQIA2S+ and BIPOC folks in particular—presenting the tarot as a radical epistemology that shifts the authority of knowing into the hands of the people themselves.
Author Christopher Marmolejo frames literacy as key to liberation, and explores an understanding of tarot as critical literacy. They show how…
I am a scholar of African and African American literature with interests in the cultures, histories, and philosophies of Africa and the diaspora. Currently, I teach and research at Texas A&M University. The history of the transatlantic slave trade and its legacies are huge components of my current research; it is also the topic of my doctoral research which I completed in 2017 at The School of Oriental African Studies (SOAS), The University of London.
Ngugi wa Thiong'o is not just a celebrated writer, but a respected critic of African literature, known for his advocacy of African languages. In this book, wa Thiong'o provides an exploration of slavery’s effects on the historical, cultural, and literary lives of Africans. His focus is on the fragmentations that slavery created in African identities and how these play out in literature. The book advocates for a re-membering of fragments created by slavery. I think this book – and frankly any work by wa Thiong'o – is a necessary addition to the collection of any reader interested in African literature, particularly the legacy of slavery and colonialism in African writings.
Novelist Ngugi wa Thiong'o has been a force in African literature for decades: Since the 1970s, when he gave up the English language to commit himself to writing in African languages, his foremost concern has been the critical importance of language to culture. In Something Torn and New , Ngugi explores Africa's historical, economic, and cultural fragmentation by slavery, colonialism, and globalization. Throughout this tragic history, a constant and irrepressible force was Europhonism: the replacement of native names, languages, and identities with European ones. The result was the dismemberment of African memory. Seeking to remember language in order to revitalize…
As a Jew growing up in the United States, I’ve spent a long time reflecting on how genocide, culturecide, and assimilation operate across majority-minority relations. My focus on Indigenous politics in my career as a political scientist stems from a devotion to pluricultural democracy as a way that people can live together well. I want to be part of a world where we can bring our whole selves to our societies and don’t have to cut out certain parts of our identities to be accepted. And I like to read well-researched, compellingly written books that offer insight into how communities do that.
Ka’m-t’em both describes how communities can heal from colonization, and is itself a product of that healing. This book brings up so many emotions: shame around White violence, hope to build a community of support for Indigenous peoples, and longing for a decolonized future. The chapters featuring youth voices at the end of the book are particularly moving, as we hear from teenagers in their own words as to why they are willing to fight for their identities, and what everyone can do to help.
Many generations ago, along the Klamath River, there lived a wise woman who wove the most beautiful baskets known to humankind. Her baskets were woven so tightly that water could not penetrate them. She was aging and had many experiences to share. Through prayer, she began to weave a basket for the people. The wise woman worked day after day, weaving, praying, and singing. As her strong hands moved gracefully over her materials, she shared a story to be retold, a song to be sung again, and a lesson to be learned. When she finished, she had created a large…
Following my PhD at King’s College, Cambridge I was invited by the School of History at Queen Mary, University of London to serve as an Honorary Research Fellow. This enabled me to focus fully on 15 years of research into previously untapped archives and interviews with more than twenty-five politicians and jurists active in the process of the African human rights charter. By coincidence, thirty-five years or so ago, in an earlier incarnation, I was also responsible for editing the first public debt prospectus for the African Development Bank in Abidjan.
This is the first book, following the opening of the archives thirty years after independence, to examine how bills of rights came to be incorporated into the independence constitutions of Britain’s former colonial territories.
It shows why and how, after the unfortunate political experience of an independent Ghana under Nkrumah, the Colonial Office foisted bills of rights on the independence constitutions of its colonial territories. A case of British do as I say and not as I do.
Bills of Rights and Decolonization analyzes the British Government's radical change in policy during the late 1950s on the use of bills of rights in colonial territories nearing independence. More broadly it explores the political dimensions of securing the protection of human rights at independence and the peaceful transfer of power through constitutional means.
This book fills a major gap in the literature on British and Commonwealth law, history, and politics by documenting how bills of rights became commonplace in Britain's former overseas territories. It provides a detailed empirical account of the origins of the bills of rights in Britain's…
When I first traveled to Africa in my early 20s as a volunteer teacher, I naively thought I would have much to teach Africans. It became clear quickly that I had far more to learn than I did to teach. Since then, I have been immersed in African cultures and their histories and believe deeply that their long-standing social, political, and economic formations are necessary for a sustainable global future. I have written three books from my African history training and experience, including the one promoted below. I regularly teach introductory and upper-level African History courses at Xavier University in Cincinnati, Ohio.
I love this book and have taught it a number of times because the protagonist challenges us not to like her, and we do anyway. The novel's first line is that her brother died, and she is not sad. From that point on, you are enveloped in the complex and conflicting dynamics of an extended Shona family that has been changed by missionary education in what was then Southern Rhodesia.
It becomes clear that Western education, mostly by design, introduces students to concepts (if not languages) foreign to their families of origin. The result can be estrangement and division. The novel is semi-autobiographical and a moving illustration of colonialism's social and cultural impact.
FROM THE BOOKER PRIZE SHORTLISTED AUTHOR OF THIS MOURNABLE BODY, ONE OF THE BBC'S 100 WOMEN FOR 2020
'UNFORGETTABLE' Alice Walker 'THIS IS THE BOOK WE'VE BEEN WAITING FOR' Doris Lessing 'A UNIQUE AND VALUABLE BOOK.' Booklist 'AN ABSORBING PAGE-TURNER' Bloomsbury Review 'A MASTERPIECE' Madeleine Thien 'ARRESTING' Kwame Anthony Appiah
Two decades before Zimbabwe would win independence and ended white minority rule, thirteen-year-old Tambudzai Sigauke embarks on her education. On her shoulders rest the economic hopes of her parents, siblings, and extended family, and within her burns the desire for independence. A timeless coming-of-age tale, and a powerful exploration of…
