Katrina's Imprint highlights the power of this sentinel American event and its continuing reverberations in contemporary politics, culture, and public policy. Published on the fifth anniversary of Hurricane Katrina, the multidisciplinary volume reflects on how history, location, access to transportation, health care, and social position feed resilience, recovery, and prospects for the future of New Orleans and the Gulf region. Essays examine the intersecting vulnerabilities that gave rise to the disaster, explore the cultural and psychic legacies of the storm, reveal how the process of rebuilding and starting over replicates past vulnerabilities, and analyze Katrina's imprint alongside American's myths of self-sufficiency. A case study of new weaknesses that have emerged in our era, this book offers an argument for why we cannot wait for the next disaster before we apply the lessons that should be learned from Katrina.

Hurricane Katrina blasted the Gulf Coast in 2005, leaving an unparalleled trail of physical destruction. In addition to that damage, the storm wrought massive psychological and cultural trauma on Gulf Coast residents and on America as a whole. Details of the devastation were quickly reported—and misreported—by media outlets, and a slew of articles and books followed, offering a spectrum of socio-political commentaries and analyses. But beyond the reportage and the commentary, a series of fictional and creative accounts of the Katrina-experience have emerged in various mediums: novels, plays, films, television shows, songs, graphic novels, collections of photographs, and works of creative non-fiction that blur the lines between reportage, memoir, and poetry. The creative outpouring brings to mind Salman Rushdie’s observation that, “Man is the storytelling animal, the only creature on earth that tells itself stories to understand what kind of creature it is.” This book accepts the urge behind Rushdie’s formula: humans tell stories in order to understand ourselves, our world, and our place in it. Indeed, the creative output on Katrina represents efforts to construct a cohesive narrative out of the wreckage of a cataclysmic event. However, this book goes further than merely cataloguing the ways that Katrina narratives support Rushdie’s rich claim. This collection represents a concentrated attempt to chart the effects of Katrina on our cultural identity; it seeks to not merely catalogue the trauma of the event but to explore the ways that such an event functions in and on the literature that represents it. The body of work that sprung out of Katrina offers a unique critical opportunity to better understand the genres that structure our stories and the ways stories reflect and produce culture and identity. These essays raise new questions about the representative genres themselves. The stories are efforts to represent and understand the human condition, but so are the organizing principles that communicate the stories. That is, Katrina-narratives present an opportunity to interrogate the ways that specific narrative structures inform our understanding and develop our cultural identity. This book offers a critical processing of the newly emerging and diverse canon of Katrina texts.

New Orleans is unique – which is precisely why there are many Crescent Cities all over the world: for almost 150 years, writers, artists, cultural brokers, and entrepreneurs have drawn on and simultaneously contributed to New Orleans’s fame and popularity by recreating the city in popular media from literature, photographs, and plays to movies, television shows, and theme parks. Addressing students and fans of the city and of popular culture, Popular New Orleans examines three pivotal moments in the history of New Orleans in popular media: the creation of the popular image of the Crescent City during the late nineteenth century in the local-color writings published in Scribner’s Monthly/Century Magazine; the translation of this image into three-dimensional immersive spaces during the twentieth century in Disney’s theme parks and resorts in California, Florida, and Japan; and the radical transformation of this image following Hurricane Katrina in public performances such as Mardi Gras parades and operas. Covering visions of the Crescent City from George W. Cable’s Old Creole Days stories (1873-1876) to Disneyland’s "New Orleans Square" (1966) to Rosalyn Story’s opera Wading Home (2015), Popular New Orleans traces how popular images of New Orleans have changed from exceptional to exemplary.

A rare look at Spike Lee’s creative appropriation of the documentary film genre. In this groundbreaking book, Delphine Letort sheds light on a neglected part of Spike Lee’s filmmaking by offering a rare look at his creative engagement with the genre of documentary filmmaking. Ranging from history to sports and music, Lee has tackled a diversity of topics in such nonfiction films as 4 Little Girls, A Huey P. Newton Story, Jim Brown: All-American, and When the Levees Broke: A Requiem in Four Acts. Letort analyzes the narrative and aesthetic discourses that structure these films and calls attention to Lee’s technical skills and narrative-framing devices. Drawing on film and media studies, African American studies, and cultural theories, she examines the sociological value of Lee’s investigations into contemporary culture and also explores the ethics of his commitment to a genre characterized by its claim to truth. Delphine Letort is Associate Professor of English at the Université du Maine in Le Mans, France.

Hyperlocal Organizing: Collaborating for Recovery Over Time explores the difficult work of post-disaster recovery. Jack L. Harris, demonstrates that after disaster, broad interorganizational landscapes are needed to unite the grassroots, neighborhoods, communities, and institutions to solve problems of recovery and bring people home. Yet all too often, government disaster policy and institutions ignore the critical role of local knowledge and organizing. Exploring the organizational landscape of the mid-Atlantic United States after Hurricane Sandy, Harris reveals how participation and collaboration open multiple pathways to recovery after disaster by building resilience and democratizing governance. Using powerful theories of communicating and organizing, this book develops a new framework—hyperlocal organizing—to address the challenge of community survivability in the twenty-first century. Achieving community survivability requires robust organizational partnerships and interorganizational collaboration to solve collective problems. The lessons Harris presents are important not just for post-disaster recovery, but for addressing grand challenges such as climate change, environmental justice, and equitable community development. Scholars of environmental communication, disaster studies, and emergency management, will find this book of particular interest.

Music, magic and myth are elements essential to the identities of New Orleans musicians. The city's singular contributions to popular music around the world have been unrivaled; performing this music authentically requires collective improvisation, taking performers on sonorous sojourns in unanticipated, 'magical' moments; and membership in the city's musical community entails participation in the myth of New Orleans, breathing new life into its storied traditions. On the basis of 56 open-ended interviews with those in the city's musical community, Michael Urban discovers that, indeed, community is what it is all about. In their own words, informants explain that commercial concerns are eclipsed by the pleasure of playing in 'one big band' that disassembles daily into smaller performing units whose rosters are fluid, such that, over time, 'everybody plays with everybody'. Although Hurricane Katrina nearly terminated the city, New Orleans and its music—in no small part due to the sacrifices and labors of its musicians—have come back even stronger. Dancing to their own drum, New Orleanians again prove themselves to be admirably out of step with the rest of America.

Markets of Sorrow, Labors of Faith is an ethnographic account of long-term recovery in post-Katrina New Orleans. It is also a sobering exploration of the privatization of vital social services under market-driven governance. In the wake of Hurricane Katrina, public agencies subcontracted disaster relief to private companies that turned the humanitarian work of recovery into lucrative business. These enterprises profited from the very suffering that they failed to ameliorate, producing a second-order disaster that exacerbated inequalities based on race and class and leaving residents to rebuild almost entirely on their own. Filled with the often desperate voices of residents who returned to New Orleans, Markets of Sorrow, Labors of Faith describes the human toll of disaster capitalism and the affect economy it has produced. While for-profit companies delayed delivery of federal resources to returning residents, faith-based and nonprofit groups stepped in to rebuild, compelled by the moral pull of charity and the emotional rewards of volunteer labor. Adams traces the success of charity efforts, even while noting an irony of neoliberalism, which encourages the very same for-profit companies to exploit these charities as another market opportunity. In so doing, the companies profit not once but twice on disaster.