Drawing together many stories from the archives of difficult events and volatile histories, Archiving Loss: Holding Places for Difficult Memories asks how we might cut and walk a path for memory, loss, and silence in the archive. The difficult events discussed in this book include state responses to refugees, events of genocide, alongside other less documented pockets of trauma, violence, and loss. This book describes the archives whose language and logic have shaped our ways we remember and respond to difficult events and the ways in which we expect memory and loss to be coherent, credible, and lead to clear conclusions. In asking what is missing and what is found in the archives of difficult events this book argues for the necessity of looking more closely at other ways of remembering loss and archiving memory.

Drawing together many stories from the archives of difficult events and volatile histories, Archiving Loss: Holding Places for Difficult Memories asks how we might cut and walk a path for memory, loss, and silence in the archive. The difficult events discussed in this book include state responses to refugees, events of genocide, alongside other less documented pockets of trauma, violence, and loss. This book describes the archives whose language and logic have shaped our ways we remember and respond to difficult events and the ways in which we expect memory and loss to be coherent, credible, and lead to clear conclusions. In asking what is missing and what is found in the archives of difficult events this book argues for the necessity of looking more closely at other ways of remembering loss and archiving memory.

"Current official responses to genocide are largely situated within archives of various descriptions - museums, courts, libraries, memoirs and memorials. Through particular readings of the archive, Martine Hawkes examines genocide as it is understood, represented, and responded to. She asks what is expected of the archive - by curators, users and genocide survivors - and considers what role archives play in informing the ethics of how genocide is approached and remembered. This book argues that the archive is constructed and gathered from outside and after the event. The archive, in attempting to contain, comprehend and conclude the event of genocide, betrays a desire to reduce histories to limits, reason and unifiers. Here, the archive privileges a quantitative and definitional reading, engendering a limited and codified response to genocide. In this reading of genocide, much is lost and unknowable. In framing an ethics of approach, six stories, told initially as stand-alone narratives are presented. These accounts then trail recursive loops within the arguments to provide a reminder of the infinite nature of the approach of genocide. This book thus presents the ashes of the event, naming that which eludes and is elided from the archive and archival practice. It sounds a crisis of response to genocide, calling instead for hesitation and uncertainty to inform our otherwise enclosing, limiting, and reductively certain responses."--Provided by publisher.

Mumbai's textile industry is commonly but incorrectly understood to be an extinct relic of the past. In The Archive of Loss Maura Finkelstein examines what it means for textile mill workers—who are assumed not to exist—to live and work during a period of deindustrialization. Finkelstein shows how mills are ethnographic archives of the city where documents, artifacts, and stories exist in the buildings and in the bodies of workers. Workers' pain, illnesses, injuries, and exhaustion narrate industrial decline; the ways in which they live in tenements exist outside and resist the values expounded by modernity; and the rumors and untruths they share about textile worker strikes and a mill fire help them make sense of the industry's survival. In outlining this archive's contents, Finkelstein shows how mills, which she conceptualizes as lively ruins, become a lens through which to challenge, reimagine, and alter ways of thinking about the past, present, and future in Mumbai and beyond.

This book describes the archives whose language and logic have shaped our ways we remember and respond to difficult events and the ways in which we expect memory and loss to be coherent, credible, and lead to clear conclusions.

In this innovative study, Jenny Sharpe moves beyond the idea of art and literature as an alternative archive to the historical records of slavery and its aftermath. Immaterial Archives explores instead the intangible phenomena of affects, spirits, and dreams that Caribbean artists and writers introduce into existing archives. Through the works of Frantz Zéphirin, Edouard Duval-Carrié, M. NourbeSe Philip, Erna Brodber, and Kamau Brathwaite, Immaterial Archives examines silences as black female spaces, Afro-Creole sacred worlds as diasporic cartographies, and the imaginative conjoining of spirits with industrial technologies as disruptions of enlightened modernity.

Honorable Mention, 2021 Latinx Studies Section Outstanding Book Award, given by the Latin American Studies Association Winner, 2020 Latino Book Awards in the LGBTQ+ Themed Section Finalist, 2019 Lambda Literary Award in LGBTQ Studies Critically reimagines Chicanx art, unmasking its queer afterlife Emboldened by the boom in art, fashion, music, and retail culture in 1980s Los Angeles, the iconoclasts of queer Aztlán—as Robb Hernández terms the group of artists who emerged from East LA, Orange County, and other parts of Southern California during this period—developed a new vernacular with which to read the city in bloom. Tracing this important but understudied body of work, Archiving an Epidemic catalogs a queer retelling of the Chicana and Chicano art movement, from its origins in the 1960s, to the AIDS crisis and the destruction it wrought in the 1980s, and onto the remnants and legacies of these artists in the current moment. Hernández offers a vocabulary for this multi-modal avant-garde—one that contests the heteromasculinity and ocular surveillance visited upon it by the larger Chicanx community, as well as the formally straight conditions of traditional archive-building, museum institutions, and the art world writ large. With a focus on works by Mundo Meza (1955–85), Teddy Sandoval (1949–1995), and Joey Terrill (1955– ), and with appearances by Laura Aguilar, David Hockney, Robert Mapplethorpe, and even Eddie Murphy, Archiving an Epidemic composes a complex picture of queer Chicanx avant-gardisms. With over sixty images—many of which are published here for the first time—Hernández’s work excavates this archive to question not what Chicanx art is, but what it could have been.