Q&A with Patrick Brodie, Author of Wild Tides

Patrick Brodie is Assistant Professor in the School of Information and Communication Studies at University College Dublin and editor of Media Rurality, also published by Duke University Press. His new book, Wild Tides: Media Infrastructure and Financial Crisis in Ireland, traces Ireland’s shift from reckless pre-2008 real estate development to a post-crisis investment in media infrastructure that has backfired. Through ethnographic work and policy analysis, Brodie reveals the unexpected ways that financialization alters the daily life of a nation.

The title of your book, “wild tides,” refers to the phrase “a rising tide lifts all boats,” an economic dictum which you describe hearing from every corner throughout your interviews and informal conversations with Irish, and the tidal metaphor recurs throughout the book. How do “wild tides” differ from a “rising tide”?

The title is an attempt to bridge the metaphorical/discursive politics that “dematerialize” the financialized world economy, with its material politics and relationship to climate change in Ireland. And the ascription of “wildness” as I articulate in the introduction is a durable, colonial logic by which territories are conditioned for extraction and the like, which in the case of Ireland has been part of a “place-branding” exercise to capitalize on Ireland’s colonial history alongside its contemporary neoliberal economy. In emphasizing that the financial tides that structure the global economy are “turbulent,” I want to go beyond conceptions of a world market characterized by “rising” growth and subsequent and catastrophic crashes. This turbulence is a structure of the market, led by the productive forces of the “metropolitan” core in the global north (particularly the US), which is cultivated by and for an increasing concentration of wealth for the very few at the expense of economic and political violence against the many. We are seeing an extreme example of that structure take shape with the US-Israeli war on Iran, whereby the beneficiaries are an oligarchical few owners of capital—petroleum producers, tech companies and defence contractors, and financial traders. Meanwhile, economic, environmental, and overt military violence on a catastrophic scale is enacted against countries and peoples in the so-called peripheries, as well as marginalized and working class communities in the imperial core.

This might seem like an aside, but I think it’s an important point when understanding how the violence of finance capitalism shapes the territorial structure of the global economy. As world-systems analysis helps us identify, the “neoliberal” consensus maintained the imperial arrangement whereby the limited benefits of industrialization via participating in outsourced production and services just re-shaped the economic dependency of peripheral and semi-peripheral states. Ireland is a semi-peripheral economy, and has benefited enormously from this imperial arrangement, facilitating the tax evasion of multinational firms primarily based in the US. However, it has also rendered Ireland enormously vulnerable to swings in global financial markets, which were felt most acutely during the aftermath of the 2007-2008 financial crisis, but also have been institutionalized through post-financial crisis and so-called “recovery-era” economic policies. This dependency, in particular, was effectively mandated by the market-led bailout conditions of the “troika”—the European Commission, the European Central Bank, and the International Monetary Fund – after the Irish crash.

In short, the turbulence of global markets in Ireland, due to an apparently contradictory but permanent austerity alongside enormous prosperity, is today experienced as a kind of everyday affect associated with state economic policies. The book attempts to bridge these scales. “Wild tides” as a title thus tries to capture that mess of contradictions, which I hope the book itself then helps to demystify and explain in the context of post-financial crisis Ireland.

In your introduction, you explain that the book’s study of media infrastructure “unravels the specific industrial threads that characterize contemporary Irish neoliberalism.” What are those threads, and what makes them such a useful site for understanding neoliberalism in Ireland?

In the book, alongside some of my other recent work with Patrick Bresnihan, I develop what I refer to as “neoliberalism with Irish characteristics,” which gestures towards the fact that Ireland’s state economic development model has become a relatively centralized form of economic planning by and for multinational industrial investment. This has a long history, but the state has “doubled-down” and even intensified this model since the financial crisis, including in the form of successive Government plans by Fine Gael and now Fianna Fáil to accommodate continued dependency on US economic flows to ensure future prosperity. This renders Ireland extremely vulnerable to the turbulence of a US-led economic system.

After trying to position Ireland and its media economies within the world-scale systems I discuss above, I identify three sites where attempts to build an economic “recovery” through the financialized mechanisms that had led to the crash in the first place intersected with media industries and their infrastructures: the built environment of Dublin’s “creative city” planning; the production and labour geographies of media industries outside of Dublin; and in Ireland’s infrastructural facilitation of the global tech economy through data centers. 

I studied each of these sites through a mixture of discourse analysis, interviews, participant observation, and site-specific fieldwork—oftentimes, just going places, photographing, and spending time with interlocutors and in pubs—to get a sense of how the above contradictions played out in situ. Some of the most instructive insights from the book came from these journeys, for example, out to what one data center engineer referred to as “data center country” in the southwestern suburbs of Dublin, where Amazon Web Services, Google, Microsoft, and several large colocation providers have major data center facilities. Watching these geographies change over time through the simultaneous intervention of multinational tech investment and Irish state intervention demonstrated the degree of spatial, environmental, and infrastructural transformation required to accommodate the global growth of these industries. At the same time, speaking with media and tourism workers, for example in rural Galway or Kerry in the west and south of the country, helped to show how uneven the “benefits” brought by this model of state facilitation for multinational investment are. This precarity is structured into everyday life in contemporary Ireland, in spite of the scale of wealth and infrastructural investment for global tech and associated media industries. 

Beyond the fieldwork from the book, I now only need to speak with my undergraduate students at UCD, who leave the country in droves after graduation—an eye-wateringly high cost of living paired with a difficult job market in these industries makes it hard for twenty-something university graduates to stay in the country. I speak about this in the conclusion of the book, where I think I’m able to update some of the book’s insights—which mostly takes place in the “recovery-era” up until 2020—into the present. The “austerity” politics of the 2010s and its economic consequences haven’t gone away for ordinary people in Ireland. The recent energy crisis due to the war on Iran has made this even more readily apparent.

Throughout the book, you touch on the longstanding tensions of land politics in Ireland. How does the island’s colonial history shape Irish relationships to land today?

The above answers all gesture towards some of the prevailing structures of Ireland’s colonial history. I should emphasize, as I do in the book, that I’m using “Ireland” as a shorthand here for the 26-county southern state, the Republic of Ireland. “Northern Ireland,” the occupied six counties still under British control, are partitioned from the southern state. I’d be remiss not to emphasize that this is still the most enduring and noteworthy legacy of colonialism in Ireland, and it continues to structure and constrain political, economic, and environmental futures on the island. A great example of this is the ongoing struggle around Lough Neagh in the north, the largest freshwater lake in Ireland or Britain, which is still owned by the Earl of Shaftesbury. Every year, there are toxic algal blooms due to pollution from a nearby factory farming plant. Economic decision-making and land ownership structures heavily constrain local environmental democracy, which implicates an enormous proportion of the island, north and south—the lake provides over 40% of Northern Ireland’s drinking water.

In the book, the history of colonialism is primarily discussed in terms of the ongoing core/periphery dynamics that occur on and beyond the island in terms of economic structuring. Ireland, as I mention above, is classified as a “semi-periphery” through a world-systems analysis, meaning (in a simplified sense) it both reaps limited benefits from and is often subjected to the violent flows of the global economy. The features of Ireland’s ongoing dependency are the result of political and economic decision-making since the establishment of the independent, 26-county southern state in the 1920s. In particular, the Irish state’s efforts to “liberalize” its economy—meaning, deepen its relationship with the US and Europe, in the aftermath of attempting to break from economic dependency on Britain—took place through industrial policy inviting international investment. It is impossible to understand the political and economic decision-making of the Irish state without positioning it within this longer history. In particular, data centers have become the most obvious example of this economic dependency on the US, as these mostly big tech infrastructures now use 22% of Ireland’s electricity. This is an exceptionally high number, with no similar global comparison at this scale, and the Irish state’s climate policies around electricity and water are entirely hamstrung by this resource-drain. Ireland’s economic history, developed through a postcolonial development model, is entirely shaping the future of its energy and associated environmental and infrastructural systems.

At the same time, within the geography of Ireland itself, there are internal differentiations and experiences of this development model, which map onto enduring colonial politics. Ireland has a strong rural-urban divide—in particular between Dublin and the rest of the country—which can be traced back to the role of Dublin as the center of colonial governance during British rule. Dublin is still pejoratively referred to as “the Pale” by non-Dubliners (etymologically coming from the same root as “the palisades”), and politics is organized around prominent urban-rural lines. As I write, a farmer convoy are occupying and have brought Dublin to a standstill over fuel prices—activating a politics of rurality that I’ve also explored elsewhere with Darin Barney and a slate of contributors. State policies designed for “regional development” in Ireland specifically are always limited by the spatial concentration of wealth and governance in Dublin, as well as a sense that industrial development via multinationals tends to bring with it environmental harms and minimal democratic input. “Rising tides” also have clear high-water marks based on distance from Dublin, and/or relationship to specifically branded tourism or other focused regional development campaigns.

Just finally, in relation to that last point, there is also still this external conception—which the state have somehow internalized and embedded in their own self-promotion, especially economically—of Ireland’s “wildness,” which draws on obvious colonial conceptions of existence beyond the metropole. This was very prominent in films and other cultural representations throughout the twentieth century, which in many ways sanitized and gentrified what were often highly bigoted conceptions of Ireland and the Irish. The Quiet Man, the 1952 American film by John Ford, is frequently brought up as an example of this, full of drunken, fighting, and “Colleen” Irish stereotypes, especially in the context of capitalizing on Irish-American yearning for the rural authenticity of the “motherland.” Throughout the book, I try to draw in these cultural legacies as well, especially in how the state uses them to brand its economy—a kind of neoliberal “wild west”—as a site for unfettered investment.

Are there stories or interviews you’re still grappling with after the book’s completion, or that you wish could have made it into the book?

Tons—though I do try to gesture towards some of these “weirder” encounters in the introduction, so many fieldnotes just couldn’t make the cut. One that I keep coming back to, especially in the context of the thankfully limited spread of the far right here in Ireland, is a discussion I had with a prospective data center developer in Wicklow back in the late-2010s. To hammer home the points he was making about being cut out of Ireland’s data center development plans, he put me on the phone with what he referred to as a former politician, who warned me that there was a shadowy, globalist cabal of unelected decision-makers running the state etc.—proto-“Great Replacement,” far right conspiracy stuff. A few years later, this part of Wicklow was subject to one of the most violent anti-migrant campaigns we’ve seen in the context of recent far right mobilization. I can’t help but wonder if I’d somehow gotten an early insight into how these politics of misplaced and often petty bourgeois grievance were forming in the context of austerity and “recovery-era” Ireland.

Read the introduction to Wild Tides for free, and save 40% on the paperback through May 19 with the coupon code SPRING26. (After 19 May, you can save 30% with coupon E26BRODI.)

Introducing Our Fall 2026 Catalog

We’re pleased to share our new Fall 2026 catalog, full of great new books that will be published between June and December 2026. Some of these titles are available for pre-order at 40% on our website now through May 19.

This year is our Centennial, and the cover of our catalog features images from catalogs past as well as a special Centennial message from our director, Dean J. Smith.

We invite you to download the full catalog and explore the range of books and journals on our list. And take this opportunity to update your preferences so that you can receive email alerts when your favorite titles are published.

When Home Is a Photograph | The Weekly Read

The Weekly Read is When Home Is a Photograph: Blackness and Belonging in the World by Leigh Raiford.

In When Home Is a Photograph, Leigh Raiford asks how Black people use photography to make home in the world. Raiford focuses on a selection of Black American activists and artists, including Marcus Garvey, James Van Der Zee, Eslanda Goode Robeson, and Kathleen Neal Cleaver to explore the complex relationship between racialized subjects and the medium of photography. When Home Is a Photograph shows how these figures did not merely utilize photography to emplace themselves in the world—they demonstrated how the use of photography is itself a way to mediate one’s relationship to the world. Sarah Elizabeth Lewis, John L. Loeb Associate Professor of the Humanities and African and African American Studies at Harvard University writes, “It is impossible to read Leigh Raiford’s tour de force and ever think of world-making without the image ever again. When Home Is a Photograph is not just a masterpiece for the history of photography, black studies, and the humanities, it is a landmark necessary to understand the extraordinary act now seen as an everyday encounter—how photography allows us to craft a home in the world.”

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.

New Books in May

It’s the end of the semester! Kick off your summer reading with some of our great new titles! Here’s what we have coming out in May. These titles are all available to order now at 40% off during our Spring sale. Use coupon SPRING26. And if you spend $100 or more your discount will automatically be increased to 50%!

As a poet, public-facing scholar of sports politics, and former professional soccer player, Jules Boykoff draws on his lifetime of athletic experience to reflect on the practice of kicking. With short vignettes blending the personal, the reflective, the historical, and the analytical, Kicking is a must-read for all those who love the beautiful game.

A companion piece to Freeing Black Girls, Loving Black Boys is a love letter to Tamura Lomax’s own sons and to all Black boys, men, fathers, and brothers. With understanding and urgency, Lomax writes honestly about Black endangerment and insists that Black feminism is vital to forging a safer future for individual and collective survival.

Who Tells Your Story gathers contemporary analyses of monument and commemoration controversies from across the United States and the world. Sanford Levinson and the contributors in this volume ask whose stories get to be told, who gets to tell them, what happens when monuments disappear, and how these memorials impact national narratives.

In The Connector, Alexandra Middleton draws on fieldwork and interviews conducted in Swedish labs and clinics that develop neuromusculoskeletal protheses, as well as in the homes of patients enrolled in clinical trials as they live with these new forms of prosthetics, to show how patients’ sensory experiences and domestic worlds become key spaces of scientific knowledge production.

In The Business of Racism, Ian Carrillo employs a case study from Brazil’s sugarcane industry to show how racial capitalism is promulgated and maintained through politics and business. Carrillo weaves together an account of how Brazil’s labor and environmental regulations are forged through racial and class struggles at worksites and within the state.

While migrants face many physical dangers in attempting to reach Europe by crossing the Mediterranean Sea, they also confront an elaborate legal system that is designed to return them to their countries of origin. In The Borders of Responsibility, Kiri Olivia Santer outlines the architecture of these legal systems and how they help Europe evade legal responsibility for rescuing migrants.

In Predatory Welfare, Erin Torkelson explores how the direct cash transfer program instituted in South Africa revised and reworked post-apartheid racialized and gendered dispossession, despite its promise of ameliorating extreme poverty. Torkelson demonstrates how cash transfers can offer a means to making racial capitalism more acceptable and how recipients can push back to demand reparation.

Strange Tastes is a philosophical excursion into aesthetic experience and the public through the works of contemporary Latin American and Latinx women writers and artists. In a careful study of this revelatory archive, Monique Roelofs shows how life lived aesthetically can embrace public space instead of surrendering it to the constrictive forces of gendering and racial capital.

Be sure to pick up your copies of these great new titles at 40% off by May 19! Use coupon SPRING26.

Author Events in May

As the semester comes to a close, we hope you can find some time to attend one of these author events!

Cover of Ozu and the Ethics of Indeterminacy by Daisuke Miyao. The cover features a skyline with trees and the outline of a large industrial looking object against a grainy dark blue night sky. The black object has two red orbs on it evoking eyes. The title appears below this written in a serif font in red against a black background. "Ozu" appears in white. The authors name is below in a white sans serif font.

May 1, 6 pm EDT: Allen Paul and Mack Paul, authors of the forthcoming book Miracle Road, appear in person at a talk on the history of Research Triangle Park, sponsored by the Museum of Durham History and the NC Biotechnology Center. 15 T.W. Alexander Drive Durham, North Carolina

May 6, 5 pm EDT: Danilyn Rutherford, author of Beautiful Mystery, is joined in conversation by Vicki Brennan and Jeanne Shea for an in-person event at the South Burlington Library. 180 Market St, South Burlington, Vermont

May 8, 5 pm PDT: The Suraj Israni Center for Cinematic Arts hosts Daisuke Miyao, author of Ozu and the Ethics of Indeterminancy, for an in-person presentation on his new book. Mosaic Auditorium #113, 9605 Scholars Drive North, La Jolla, California

May 9, 11 am PDT: City Lights bookstore hosts an online symposium entitled (Re)Reading Senghor: Poet-Politician at the Crossroads, featuring Johann C. Ripert, editor of Senghor: Writings on Politics, and Doyle D. Calhoun, Alioune B. Fall, and Cheikh Thiam, editors of The Essential Senghor: African Philosophy and Black Aesthetics.

Cover of The Essential Senghor: African Philosophy and Black Aesthetics by Léopold Sédar Senghor. The cover is a textured beige with the title in a teal serif font. Partially overlapping the very bottom of the title is a sepia colored photograph of Senghor. The subtitle is written in black to the right of Senghor and the author’s name appears directly below in italics. “Edited and translated by Doyle D. Calhoun, Alioune B. Fall, Cheikh Thiam” appears in white on Senghor's shoulder.

May 11, 3 pm: Alexandra Middleton, author of The Connector is joined for an in-person conversation by Janelle Taylor and Joseph Dumit at the University of Copenhagen. CSS room 5.0.22, Centre for Medical Science and Technology Studies, University of Copenhagen, Øster Farimagsgade 5, Copenhagen.

May 13, 6 pm EDT: Wazhmah Osman, co-editor of Decolonizing Afghanistan, is joined by volume contributors Zohra Saed, Moustafa Bayoumi, and Morwari Zafar for an in-person conversation. Skylight Room (9100), CUNY Graduate Center, 365 5th Ave, New York City

May 13, 6 pm EDT: Gil Hochberg, author of My Father, the Messiah, is joined by Ariel Goldberg for an in-person conversation at the Leslie-Lohman Museum of Art. 26 Wooster Street, New York City

May 17, 4 pm EDT: Leigh Raiford, author of When Home Is a Photograph, appears at an in-person event with Salamishah Tillet at the Studio Museum in Harlem. The Stoop, 144 W 125th St., New York City

May 17, 5:30 pm EDT: Nnenna Freelon appears in-person at the North Carolina Museum of Art, speaking about her recent book Beneath the Skin of Sorrow, and performing related songs. 2110 Blue Ridge Rd, Raleigh, North Carolina

Cover of When Home Is a Photograph: Blackness and Belonging in the World by Leigh Raiford.The cover features a silver iridescent couch on a hardwood floor surrounded by a gallery wall of framed artwork and photographs on a white wall. The art is arranged by color to create a rainbow. Above this the title appears in a bold sans serif all caps font aligned left in a gradient from purple to pink. In the upper right corner the subtitle appears in a black serif font. The author's name appears below in all caps in the same font.

May 17, 3 pm PDT: Robin Derby, author of Bêtes Noires, appears in-person at a UCLA Food Studies community event at El Bacano Dominican Restaurant. 13009 1/2 Victory Blvd, North Hollywood, California

May 21, 5 pm PDT: Gil Hochberg, author of My Father, the Messiah, in is joined by Michal Rothberg, Hannah Jakobsen, and Rachel Lee for an in-person conversation at UCLA. 2125 Rolfe Hall, Los Angeles

May 21, 4 pm PDT: Crystal Myun-he Baik, author of Before the Fire Dogs Steal the Sun, gives an in-person reading at University of California, Santa Barbara. Haughton Living Room, Mosher Alumni House, Santa Barbara, California

May 23, 3 pm GMT: Fred Moten, author of Black and Blur, Stolen Life, and The Universal Machine, kicks off the Stuart Hall Foundation’s 9th annual Stuart Hall Public Conversation. Conway Hall, 25 Red Lion Square, London

May 28, 6:30 PM PDT: Leigh Raiford, author of When Home Is a Photograph, appears at an in-person book launch with Sadie Barnette and Key Jo Lee at the Museum of the African Diaspora (SF). 685 Mission St (at 3rd), San Francisco, CA.

Our Spring Sale Starts Today!

We’re excited to announce that our Spring Sale starts today. Save 40% on all in-stock and pre-order books and journal issues with coupon code SPRING26 through May 19. And in celebration of our Centennial, when your order exceeds $100.00, the coupon will automatically extend a 50% discount—no additional steps needed!

Our distributor in the UK, Europe, Africa, the Middle East, and the Pacific, MNG University Presses, is pleased to extend the same 40% off discount to our customers there. Since overseas shipping can be slow and expensive, we highly encourage everyone in their territory to order directly from them using the same SPRING26 coupon code.

Customers in Canada may order directly from the University of Toronto Press. UTP is our distribution partner in Canada and can offer significantly improved shipping times. UTP will also accept the same SPRING26 coupon code.

Here’s the usual fine print: The discount does not apply to e-books, apparel, journal subscriptions, or society memberships. Regular shipping applies and all sales are final. We accept pre-orders on books within 5 months of publication. Look for “Availability: Pre-Order” below the buy button and a release date on the product page to identify titles eligible for pre-publication order. You may use coupon code SPRING26 on titles in pre-order status. You will receive those books when they are published. The discount may not be combined with any other offers.

If you have any difficulty ordering via our website, you can call our customer service department at 888-651-0122 during regular business hours (Monday-Friday, 8-5 Eastern Time).

This sale ends at midnight Eastern time on Tuesday, May 19. Shop now!

Poem of the Week

Our fourth and final Poem of the Week is “Few Years Later” from the recently published Ocean, as Much as Rain, a collection of masterfully translated literary writings by prominent Tibetan writer Tsering Woeser, edited and translated by Fiona Sze-Lorrain with Dechen Pemba.

Few Years Later

Few years later
you’re at the original site
I’m at its opposite end
on a plane
in a car
also arriving at the original site

Few years later
you’ve aged
I’ve aged
We seem to age at the same time
still young
and with a temper

Few years later
I’m covered with dust
and disfigured
Yet I insist on looking elegant
using postiche bones
as jewelry
wearing them on my chest
as if with nonchalance

Few years later
your face
looks so clean
scholarly
like tears from inside
an extra sheen
you can’t wipe dry

Few years later
we sit together at last
first a little distant
then slightly closer
Voices around us
are grotesque and gaudy
I want to speak but hesitate
You want to speak but hesitate
What else could we say

October 1990, Chengdu

Tsering Woeser is a Tibetan writer, poet, activist, and the author of numerous books of poetry and prose. Fiona Sze-Lorrain is a writer, poet, translator, and the author of, most recently, Dear Chrysanthemums: A Novel in Stories. Dechen Pemba is the editor of High Peaks Pure Earth. Save 30% on Ocean, as Much as Rain with coupon E26OCEAN.

Orgulla, or Gringo Go Back to Your Country | The Weekly Read

The Weekly Read for April 25, 2026, is “Orgullo, or Gringo Go Back to Your Country” by Molly Greening. The article appears in issue 2:2 of QTR: A Journal of Trans and Queer Studies in Religion

QTR is an open-access journal; read this article and the full issue for free.
Learn more about the journal and sign up for issue alerts.

Dim room with red chaise lounge and candles arranged on a red cloth with flowers cross and incense on the floor

Abstract
Using creative nonfiction, this essay explores pride, positionality, and coalitional resistance to US Christian fundamentalism. It narrates social positionalities of attendees of the San Salvador Pride parade in 2024, reflecting on how Christian theology can be used as a tool of liberation to support queer and trans flourishing, as well as a tool of oppression to continue white supremacist cisheterosexual dominance. It explores the ways the United States and El Salvador are interconnected through decades of policymaking, and how these intricacies show up in the bodies of pastors, theologians, and activists coming from Central America, South America, and the United States. Reflecting on the words orgullo (pride) and gringo, the author in particular grapples with being from the United States and their presence at the parade, especially during a clash between their friend from Colombia and antigay American fundamentalist Christian counterprotestors.

QTR: A Journal of Trans and Queer Studies in Religion is an open-access journal dedicated to expanding both scholarly and public knowledge about the rich and complex connections between religion, gender, and sexuality. Featuring cutting-edge scholarship at the intersections of queer studies, trans studies, and religious studies, the journal aims to expand the depth and reach of what trans and queer studies in religion is becoming. The journal demonstrates the relevance of various modes of gender, sexuality, and embodiment wherever one might find religious people, practices, or ideas.

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.

Earth Day Reads

Happy Earth Day! In celebration of environmental protection, we’re excited to highlight some of our most recent titles in environmental studies and the environmental humanities.

Cover of Subjects of the Sun: Solar Energy in the Shadows of Racial Capitalism by Myles Lennon. The top half features the word "subjects" in orange, vertically oriented text against a white background. The lower half displays the rest of the title in white text over a cityscape bathed in golden light. Solar panels in the foreground of the city reflect pink, purple, and blue hues that complement a sky filled with pink-tinged clouds.

In Subjects of the Sun, Myles Lennon offers an ethnographic study of clean tech corporations and community solar campaigns in New York City, calling for a just energy transition that privileges everyday senses over digital understandings of solar power.

Contending that contemporary study of the environment can often reproduce the violence it means to address, Fear of a Dead White Planet, by Joseph Masco, Tim Choy, Jake Kosek, and M. Murphy of the More Worlds Collective, proposes a methodological shift that is place-based and allows for the conjuring of alternate worlds.

In Homesick, Nicholas Shapiro highlights how homesickness for an otherwise future can herald meaningful change. Drawing on almost fifteen years working with community members impacted by Hurricane Katrina, Shapiro traces how the story of toxic emergency housing units expands into a story of how all of our shelters became a seat of exposure and how we can collectively struggle for cleaner indoor air.

Cover of The Elsewhere Is Black: Ecological Violence and Improvised Life by Marisa Solomon. The cover features a sculpture by Curtis Cuffie. The sculpture is tall and eclectic. It is made of colorful, found materials—fabrics, ropes, tinsel, and various discarded objects—stacked and draped over a pole in an outdoor urban setting under a cloudy sky. A parking meter tagged with graffiti is visible on the right.

The Elsewhere Is Black opens new ecological horizons to ask: What forms of environmentalism emerge when Black un/freedom has never been distant from waste? Marisa Solomon examines how waste is a mundane part of poor Black survival and a condition of settler colonial racial capitalism.

Through vivid storytelling and deeply personal reflections, Kathryn Gillespie invites readers to notice the small wonders of life all around them. The Sound of Feathers urges us to confront the forces that separate us from the natural world and find more compassionate ways of living in harmony with it. Read a Q&A with Gillespie here.

Richly researched and comprehensively argued, Wild Tides reveals the multifarious, unexpected ways that financialization reaches into the daily life of a nation. Patrick Brodie maps the shifting fortunes of the Irish economy before the 2008 financial crisis up to 2020.

Cover of The Climate Trial: Law and Justice on a Melting Planet by Noah Walker-Crawford. The cover features a photograph of a person looking out at icy mountains and a bright icy blue lake. The individual is wearing dark pants, a navy blue jacket, and a tan hat. The title is in a thin sans serif in all caps centered above the individual. ‘The’ is in a light grey blue, ‘Climate’ is in a slate blue, and ‘Trial’ is in a light grey brown. The author’s name is above in a serif font. The subtitle appears at the bottom of the cover in white.

The Climate Trial is a deeply human story about moral responsibility in a changing world. Anthropologist Noah Walker-Crawford draws on years of personal involvement with the groundbreaking lawsuit between Saúl Luciano Lliuya of Huaraz, Peru and the German energy company RWE and extensive fieldwork in Peru and Germany to follow the people, legal strategies, scientific arguments, and political tensions that shaped the trial. Read a Q&A with Noah Walker-Crawford here.

Edited by Patrick Brodie and Darin Barney, Media Rurality investigates the centrality of rural places and people within the media systems and technologies that shape daily life. Approaching the study of rurality through a materialist lens that foregrounds infrastructure, this collection shows how rural spaces often bear the environmental brunt of capitalist development while being relegated to the economic and cultural periphery.

You can save 30% on any of these titles with coupon SAVE30.

POEM OF THE WEEK

Happy National Poetry Month! Our third poem of the week this April is “The Cellmate” by Alex Tretbar. The poem was published in issue 105 of the minnesota review.

The Cellmate

find me where the figuration
pulls up short of a white stop sign
we have spent all evening sanding down
and separating the constituent parts of
with a flame and isopropyl in a spoon
and you have to make sure to burn off
all the isopropyl before you
inject the one-word memorandum
in its most elemental state
free of chalk and anodyne
find me where the abstraction
abstracts itself into material gain
now that I’m taking tuesday seriously
enough to broach unspeakable subjects
alone in a stall in the bathroom
of a provincial bowling alley
where outside in the gravel lot
someone has decided they are willing
to go to prison right now
and I have felt that way before
I have wandered into five-star hotel
buffets merely to pray in their bathrooms
by purifying anodynes in isopropyl
in an attempt to locate a grove of leafless trees
that an old man told me about in prison
late one night in our cell he whispered at the corner
of enterprise and haverhill you’ll find
a white stop sign and a black dog and a
child in pale blue overalls that’s me

Illustration of a child in striped shirt and red boots drinking from a bottle on a plain light background


Publishing contemporary poetry and fiction as well as reviews, critical commentary, and interviews of leading intellectual figures the minnesota review curates smart, accessible collections of progressive new work. This eclectic survey provides lively and sophisticated signposts to navigating current critical discourse. The review explores the most exciting literary and critical developments for both specialists and a general audience.