Remnants of Empire in Algeria and Vietnam proposes a new approach to Francophone Studies through an examination of four specific Algerian and Vietnamese novels written in French by women. The connections between their works and shared colonial history lead us to a deeper understanding of postcolonial literature.

What made France into an imperialist nation, ruler of a global empire with millions of dependent subjects overseas? Historians have sought answers to this question in the nation?s political situation at home and abroad, its socioeconomic circumstances, and its international ambitions. But all these motivating factors depended on other, less tangible forces, namely, the prevailing attitudes of the day and their influence among those charged with acquiring or administering a colonial empire. The French Colonial Mind explores these mindsets to illuminate the nature of French imperialism. ø The first of two linked volumes, Mental Maps of Empire and Colonial Encountersøbrings together fifteen leading scholars of French colonial history to investigate the origins and outcomes of imperialist ideas among France?s most influential ?empire-makers.? Considering French colonial experiences in Africa and Southeast Asia, the authors identify the processes that made Frenchmen and women into ardent imperialists. By focusing on attitudes, presumptions, and prejudices, these essays connect the derivation of ideas about empire, colonized peoples, and concepts of civilization with the forms and practices of French imperialism in the nineteenth and twentieth centuries. The contributors to The French Colonial Mind place the formation and the derivation of colonialist thinking at the heart of this history of imperialism.

The front covers of books written by Algerian women serve as the primary source of investigation in Front Cover Iconography and Algerian Women Writers. These covers have implications that extend beyond selling the book. What we see on one side of the page—or in this case, the cover, (recto) controls what we read on the reverse—in this case, the text itself (verso). Using theories of the paratext, including those of Gérard Genette and Jonathan Gray, this book determines how four dominant iconographies used on the covers of Algerian women’s writing – Orientalist art, the veil, the desert, and the author portrait – work with and against the texts they represent. These images have an impact on the initial reception of the book, but beyond that, book covers determine how both the informed and uninformed reader categorize and interpret francophone Algerian women’s writing in France and beyond. As the covers help to sell the works, they also produce messages, represented via their iconographies that embed themselves into the texts. A sometimes explicit, and at the very least, implicit dialog between the visual paratextual representation and the written textual one is created: a dialog that extends beyond the life of the physical book to a sort of canonical paradigm for reading these authors’ works. Thus, even if the cover image appears ephemeral, it never truly disappears. Its powerful control over critical reception and, ultimately, interpretation of francophone Algerian women’s writing remains.

Disputing the claim that Algerian writing during the struggle against French colonial rule dealt almost exclusively with revolutionary themes, The Algerian New Novel shows how Algerian authors writing in French actively contributed to the experimental forms of the period, expressing a new age literarily as well as politically and culturally. Looking at canonical Algerian literature as part of the larger literary production in French during decolonization, Valérie K. Orlando considers how novels by Rachid Boudjedra, Mohammed Dib, Assia Djebar, Nabile Farès, Yamina Mechakra, and Kateb Yacine both influenced and were reflectors of the sociopolitical and cultural transformation that took place during this period in Algeria. Although their themes were rooted in Algeria, the avant-garde writing styles of these authors were influenced by early twentieth-century American modernists, the New Novelists of 1940s–50s France, and African American authors of the 1950s–60s. This complex mix of influences led Algerian writers to develop a unique modern literary aesthetic to express their world, a tradition of experimentation and fragmentation that still characterizes the work of contemporary Algerian francophone writers.

This book explores the politics of artistic creativity, examining how black artists in Africa and the diaspora create art as a procedure of self-making. Essays cross continents to uncover the efflorescence of black culture in national and global contexts and in literature, film, performance, music, and visual art. Contributors place the concerns of black artists and their works within national and transnational conversations on anti-black racism, xenophobia, ethnocentrism, migration, resettlement, resistance, and transnational feminisms. Does art by the subaltern fulfill the liberatory potential that critics have ascribed to it? What other possibilities does political art offer? Together, these essays sort through the aesthetics of daily life to build a thesis that reflects the desire of black artists and cultures to remake themselves and their world.

Atrocity fabrication – the invention and reporting of atrocities committed by an adversary without knowledge that they ever occurred – has a centuries-long history at the heart of propaganda and power politics as an effective means of moving public and international opinion. Its use can provide pretext for a range of hostile measures against its targets, transforming in the public eye wars of unprovoked aggression into wars of liberation of the oppressed, or turning blockades to starve enemy civilians into humane efforts to pressure abusive governments under the moralistic label of sanctions. As it plays a large and growing role in global conflict in the 21st century understanding atrocity fabrication and the consistent means by and ends to which it has been used has become crucial to comprehending geopolitical events in the present day. This book elucidates the seldom explored but central role played by atrocity fabrication in eleven major conflicts from the 1950s to the present day: from Korea, Vietnam and Cuba during the Cold War to Iraq, Libya and the emerging Sino-U.S. cold war more recently. It highlights the many variations of atrocity fabrication, the strong consistencies in how atrocity fabrication is used, and the consequences it has for the populations of the targeted countries, The book demonstrates the roles played by media and both government and non-governmental organizations in misleading the public as to the actuality of these highly publicized events. The emerging trend towards this mode of action, and the deep implications this has for world order, make an understanding of its history particularly critical

Seventh grade was supposed to be fun, but Tori is having major drama with her BFF, Sienna. Sienna changed a lot over the summer—on the first day of school she’s tan, confident, and full of stories about her new dreamy boyfriend. Tori knows that she’s totally making this guy up. So Tori invents her own fake boyfriend, who is better than Sienna’s in every way. Things are going great—unless you count the whole lying-to-your-best-friend thing—until everyone insists Tori and Sienna bring their boyfriends to the back-to-school dance.