An NPR Best Book of the Year A CrimeReads Historical Fiction Best Book of the Year At a chance encounter at a Berlin soirée in 1928, the photographer Alfred Eisenstaedt captures three very different women together in one frame: up-and-coming German actress Marlene Dietrich; Anna May Wong, the world’s first Chinese American star; and Leni Riefenstahl, whose work as a director of propaganda art films would first make her famous—then, infamous. The trajectories of these women’s lives wind from Weimar Berlin to LA’s Chinatown, from the Bavarian Alps to the Champs-Élysées, and the different settings they inhabit are as richly textured as the roles they play: siren, victim, predator, or lover, each one a carefully calibrated performance. In the orbit of each star live secondary players whose voices and viewpoints reveal the legacy each woman left behind. Intimate and clear-eyed, this is a visceral depiction of womanhood—its particular hungers, its oblique calculations, and its eventual betrayals.

"Like the delayed rays of a star" contemplates the role of the gaze in photography while attempting to pierce the propaganda surrounding US-centric perceptions of Beirut. The work immerses the viewer into the photographer's domestic space through sun-drenched portraits from her Ottoman-era home. The images aim to question the misplaced anxieties of what it means to grow up in a post 9/11 image landscape, to live and work in Lebanon, and give birth to one's first child in Beirut on August 4th--the same day as the catastrophic 2020 Beirut explosion. The photographs confront this rhetoric and conditioned fear by documenting a confluence of "perfume, smoke, fruit, flowers, baking bread, and exhaust fumes" with the subtleties of passing time ruptured by light; these nuanced moments draw inward, decentering the authorial lens, intentionally shifting how mediated photographs affect one's community. In moments charged by Beirut's 2019 rebellion, economic collapse, the pandemic, and the most recent 2020 blast, this publication seeks to resist the narrative tropes of the Western gaze by asking us, "Will there ever be another way to see Beirut?"

Out of Touch investigates how skin has become a crucial but disavowed figure in twentieth-century literature, theory, and cultural criticism. These discourses reveal the extent to which skin figures in the cultural effect of changes in visual technologies, a development argued by critics to be at the heart of the contest between surface and depth and, by extension, Western globalization and identity politics. The skin has a complex history as a metaphorical terrain over which ideological wars are fought, identity is asserted through modification as in tattooing, and meaning is inscribed upon the human being. Yet even as interventions on the skin characterize much of this history, fantasy and science fiction literature and film trumpet skin's passing in the cybernetic age, and feminist theory calls for abandoning the skin as a hostile boundary.

This fourth volume of the Iconicity series is like its predecessors devoted to the study of iconicity in language and literature in all its forms. Many of the papers turn the notion of iconicity 'inside-out', some suggesting that 'less-is-more'; others focus on the cognitive factors 'inside' the brain that are important for the iconic phenomena that are produced in the 'outside' world. In addition this volume includes a paper related to iconicity in music and its interaction with language. Other papers range from the theoretical issues involved in the evolution of language, to those that offer many 'inside-out' claims, such as claiming that nouns are derived from pronouns, and as such should more properly be called 'pro-pronouns'. Also, this volume includes perhaps the first English-language analysis of the iconic aspects of sound symbolism in a prayer from the Koran. This is a truly interdisciplinary collection that should turn some of the notions of iconicity in language and literature 'outside-in' and 'inside-out'.

This book provides a new critical reappraisal of the work of modernist writer and artist Mina Loy. Primarily known for her daring and difficult poems, Loy was also the author of a dazzling variety of other literary and visual artworks in different genres and media. My reading demonstrates the richness and complexity of her work beyond the more often-explored path from Futurism to Dada to Surrealism, emphasizing the importance of her perpetual travel between disparate aesthetics. Engaging in a close analysis of her poetry, essays, manifestoes, and novel Insel, I unearth a multiplicity of hidden literary and pictorial intertexts in her works. Tracing the origins of Loy’s often puzzling imagery, I examine the complex strategies of collage, condensation, distortion, and displacement through which she conflates multiple allusions in enigmatic constellations. I challenge T.S. Eliot’s claim that Loy lacks an œuvre, claiming that there is an aesthetic project, or at least a paradoxical unity in her famously fragmented work. I show how her writings critically engage with the turbulence of avant-garde innovation of her time, pinpointing the essential ephemerality of the avant-gardes and their tendency to become dogmatic ideologies. Through a perpetual shift of the aesthetic paradigm, Loy’s work creates dialogic exchanges between different experimental aesthetic programs. Thus, the book positions Loy not only as an important artist, but also as a major theorist of modernist and avant-garde aesthetics.

Gilberto Perez draws on his lifelong love of the movies as well as his work as a film scholar to write a lively, wide-ranging, penetrating study of films and filmmakers and the nature of the art form.

A new reading of Virginia Woolf in the context of “long modernism.” In recent decades, Virginia Woolf’s contribution to literary history has been located primarily within a female tradition. Elizabeth Abel dislodges Woolf from her iconic place within this tradition to uncover her shadowy presence in other literary genealogies. Abel elicits unexpected echoes of Woolf in four major writers from diverse cultural contexts: Nella Larsen, James Baldwin, Roland Barthes, and W. G. Sebald. By mapping the wayward paths of what Woolf called “odd affinities” that traverse the boundaries of gender, race, and nationality, Abel offers a new account of the arc of Woolf’s career and the transnational modernist genealogy constituted by her elusive and shifting presence. Odd Affinities will appeal to students and scholars working in New Modernist studies, comparative literature, gender and sexuality studies, and African American studies.