Upon their independence, Moroccan, Algerian, and Tunisian governments turned to the Global South and offered military and financial aid to Black liberation struggles. Tangier and Algiers attracted Black American and Caribbean artists eager to escape American white supremacy; Tunis hosted African filmmakers for the Journées Cinématographiques de Carthage; and young freedom fighters from across the African continent established military training camps in Morocco. North Africa became a haven for militant-artists, and the region reshaped postcolonial cultural discourse through the 1960s and 1970s. Maghreb Noir dives into the personal and political lives of these militant-artists, who collectively challenged the neo-colonialist structures and the authoritarianism of African states. Drawing on Arabic, Spanish, Portuguese, French, and English sources, as well as interviews with the artists themselves, Paraska Tolan-Szkilnik expands our understanding of Pan-Africanism geographically, linguistically, and temporally. This network of militant-artists departed from the racial solidarity extolled by many of their nationalist forefathers, instead following in the footsteps of their intellectual mentor, Frantz Fanon. They argued for the creation of a new ideology of continued revolution—one that was transnational, trans-racial, and in defiance of the emerging nation-states. Maghreb Noir establishes the importance of North Africa in nurturing these global connections—and uncovers a lost history of grassroots collaboration among militant-artists from across the globe.

The Persian Gulf has long been a contested space—an object of imperial ambitions, national antagonisms, and migratory dreams. The roots of these contestations lie in the different ways the Gulf has been defined as a region, both by those who live there and those beyond its shore. Making Space for the Gulf reveals how capitalism, empire-building, geopolitics, and urbanism have each shaped understandings of the region over the last two centuries. Here, the Gulf comes into view as a created space, encompassing dynamic social relations and competing interests. Arang Keshavarzian writes a new history of the region that places Iran, Iraq, and the Arabian Peninsula together within global processes. He connects moments more often treated as ruptures—the discovery of oil, the Iranian Revolution, the rise and decline of British empire, the emergence of American power—and crafts a narrative populated by a diverse range of people—migrants and ruling families, pearl-divers and star architects, striking taxi drivers and dethroned rulers, protectors of British India and stewards of globalized American universities. Tacking across geographic scales, Keshavarzian reveals how the Gulf has been globalized through transnational relations, regionalized as a geopolitical category, and cleaved along national divisions and social inequalities. When understood as a process, not an object, the Persian Gulf reveals much about how regions and the world have been made in modern times. Making Space for the Gulf offers a fresh understanding of this globally consequential place.

"Statuomania" overtook Algeria beginning in the nineteenth century as the French affinity for monuments placed thousands of war memorials across the French colony. But following Algeria's hard-fought independence in 1962, these monuments took on different meaning and some were "repatriated" to France, legally or clandestinely. Today, in both Algeria and France, people are moving and removing, vandalizing and preserving this contested, yet shared monumental heritage. Susan Slyomovics follows the afterlives of French-built war memorials in Algeria and those taken to France. Drawing on extensive fieldwork in both countries and interviews with French and Algerian heritage actors and artists, she analyzes the colonial nostalgia, dissonant heritage, and ongoing decolonization and iconoclasm of these works of art. Monuments emerge here as objects with a soul, offering visual records of the colonized Algerian native, the European settler colonizer, and the contemporary efforts to engage with a dark colonial past. Richly illustrated with more than 100 color images, Monuments Decolonized offers a fresh aesthetic take on the increasingly global move to fell monuments that celebrate settler colonial histories.

In The Color Black, Beeta Baghoolizadeh traces the twin processes of enslavement and erasure of Black people in Iran during the nineteenth and twentieth centuries. She illustrates how geopolitical changes and technological advancements in the nineteenth century made enslaved East Africans uniquely visible in their servitude in wealthy and elite Iranian households. During this time, Blackness, Africanness, and enslavement became intertwined—and interchangeable—in Iranian imaginations. After the end of slavery in 1929, the implementation of abolition involved an active process of erasure on a national scale, such that a collective amnesia regarding slavery and racism persists today. The erasure of enslavement resulted in the erasure of Black Iranians as well. Baghoolizadeh draws on photographs, architecture, theater, circus acts, newspapers, films, and more to document how the politics of visibility framed discussions around enslavement and abolition during the nineteenth and twentieth centuries. In this way, Baghoolizadeh makes visible the people and histories that were erased from Iran and its diaspora.

Immigration presents a fundamental challenge to the nation-state and is a key political priority for governments worldwide. However, knowledge of the politics of immigration remains largely limited to liberal states of the Global North. In this book, Katharina Natter draws on extensive fieldwork and archival research to compare immigration policymaking in authoritarian Morocco and democratizing Tunisia. Through this analysis, Natter advances theory-building on immigration beyond the liberal state and demonstrates how immigration politics – or how a state deals with 'the other' – can provide valuable insights into the inner workings of political regimes. Connecting scholarship from comparative politics, international relations and sociology across the Global North and Global South, Natter's highly original study challenges long-held assumptions and reveals the fascinating interplay between immigration, political regimes, and modern statehood around the world.

Performing the Pied-Noir Family: Constructing Narratives of Settler Memory and Identity in Literature and On-Screen sheds new light on the memory community of the pieds-noir from the Algerian War (1954-1962) as it continues to resonate in France, where the subject was initially repressed in the collective psyche. Aoife Connolly draws on theories of performativity to explore autobiographical and fictional narratives by the settlers in over thirty canonical and non-canonical works of literature and film produced from the colony’s imminent demise up to the present day. Connolly focuses on renewed attachment to the family in exile to facilitate a comprehensive analysis of settler masculinity, femininity, childhood, and adolescence and to uncover neglected representations, including homosexual and Jewish voices. Connolly argues that findings on the construction of a post-independence identity and collective memory have broader implications for communities affected by colonization and migration. Scholars of literature, film, Francophone studies, and film studies will find this book particularly useful.