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Shuchi Kapila, Postmemory and the Partition of India: Learning to Remember (Palgrave MacMillan, 2024)
Dr. Shuchi Kapila, Professor of English at Grinnell College, has a new book that explores the India/Pakistan Partition in 1947 through the lens of memory, generational conversation and inheritance. Postmemory and the Partition of India: Learning to Remember is most clearly focused on this idea of how we learn to remember the past, particularly the complexities of a past that includes trauma and violence along with independence and hope. This book, part of the Palgrave MacMillan series on Memory Studies, examines these ideas of memory and nostalgia and how they have shaped the cultural and political understanding of Partition in India, but also in the diaspora. Kapila starts with her own lived experiences, recalling bits of stories her mother told of her life before Partition. This is the path that Postmemory and the Partition of India continues along, as Kapila notes that the memories of Partition are fragmented, are communicated in bits, often in a non-linear way. Thus, the memories themselves were not fully communicated to the children of those who experienced Partition, and this generation of children, now adults, are reflecting on their own inheritance from Partition, even though they themselves did not live through it. Part of the focus in Learning to Remember is drawing out this approach to remembering—what is it that the traumatized generation passed along, even unknowingly, to their children. The transfer of more than 12 million people without much planning or organization, in context of the British removal of colonial power from the Asian subcontinent, and the establishment of independent India, Pakistan, and Bangladesh, were all jarring events, leaving individuals stateless, or newly engulfed in nation-states that had not previously existed. Families were separated, women were abducted, violence and displacement all dominated this period—and for those who lived through it, it was not necessarily contextualized by a state power committing crimes against particular populations, as was the case in the Holocaust, or the Apartheid regime in South Africa, or the Khmer Rouge in Cambodia. Thus, the responses that happened in regard to these events, with the Nuremburg Trials, or the Truth and Reconciliation Commission, did not happen in the same way in terms of Partition.
Kapila explores different avenues that have been developing to rectify some of this missing memory of Partition. She does interviews with those who experienced Partition and she also interviews her generational contemporaries, examining how different generations have essentially experienced Partition and also how they have learned to remember this assaultive experience that is also the foundation of independent nation-states. This is the thrust of the first half of the book—these intergenerational conversations and understandings of Partition. The second half of the book looks more closely at the two physical spaces that have been established to communicate about Partition. These two physical spaces include the Berkeley, California 1947 Partition Archive, which now contains at least 10,000 oral histories of Partition, available for researchers, scholars, and individuals to explore and examine. India has also recently opened the Partition Museum, Amritsar, the first museum of its kind in India. Museums tend to craft particular narratives of events or experiences, and Kapila considers this new museum, and how it is participating in that narrative design, while also engaging with critiques and analysis of the newly established museum, which opened in 2017.
Lilly J. Goren is a professor of political science at Carroll University in Waukesha, WI.
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Molly Giles remembers when her father came back after WWII in 1945. Her memoir, Life Span (WTAW Press, 2024) opens when she is three years old, sitting in the front seat of a moving van as her father drives from San Francisco to their new home in Sausalito. Well-known editor and author of four story-collections and two novels, Giles referenced the journals she began writing at age nine to create a memoir filled with moments and thoughts from her eight decades so far. The Bay area is the backdrop for much of her life, although she spent fourteen years teaching in Arkansas. She delves into family relationships, husbands and lovers, siblings and children, teaching and editing, and the struggles of a being a single mother before women were accepted into the work force. In brutally honest prose, Molly dissects her life with a critical eye, never sugar-coating her failures or glorifying her successes, of which there were many.
Molly Giles’s first collection of short stories, ROUGH TRANSLATIONS won the Flannery O’Connor Prize for Short Fiction. Four subsequent story collections—CREEK WALK, BOTHERED, ALL THE WRONG PLACES and WIFE WITH KNIFE, have also won awards, including the San Francisco Commonwealth Silver Medal for Fiction, the Spokane Short Fiction Award, and the Leapfrog Press Global Fiction Prize. She published her first novel, IRON SHOES, in 2000, and, twenty-three years later, published its sequel, THE HOME FOR UNWED HUSBANDS. Her work has been included in numerous anthologies including the O.Henry and Pushcart Prize (three times), and she has received grants from the National Endowment for the Arts, the Marin Arts Council, and the Arkansas Arts Council. Molly Giles has taught fiction writing at San Francisco State University, University of Hawaii in Manoa, San Jose State University, the National University of Ireland at Galway, the University of Arkansas in Fayetteville, and at numerous writing conferences, including The Community of Writers and Naropa. She has won the National Book Critics Circle Award for Book Reviewing, been awarded residences at MacDowell, Yadoo, and The House of Literature in Paros, Greece, and has edited many published writers, including Amy Tan.
Molly enjoys cooking, but she doesn’t love it, what she loves is reading cookbooks in bed, licking salt off her fingers after a light supper of Fritos. She also enjoys gardening (the watering part not the weeding) and watching the resident fawns graze what’s left of her lawn. Molly is a passionate reader and though she often forgets both keys and wallet, she never travels without a book in her purse. She lives in Woodacre, CA.
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In this episode we are joined by Thomas Hendriks, an anthropologist studying capitalism and resource extraction in the Democratic Republic of Congo. Hendriks' work is amongst the most innovative in the anthropological study of capitalism, drawing upon queer theory, feminist ethnography, and phenomenology to make sense of cutting down large trees in the tropical rainforest. 
Congolese logging camps are places where mud, rain, fuel smugglers, and village roadblocks slow down multinational timber firms; where workers wage wars against trees while evading company surveillance deep in the forest; where labor compounds trigger disturbing colonial memories; and where blunt racism, logger machismo, and homoerotic desires reproduce violence. In Rainforest Capitalism: Power and Masculinity in a Congolese Timber Concession (Duke UP, 2021) Thomas Hendriks examines the rowdy world of industrial timber production in the Democratic Republic of the Congo to theorize racialized and gendered power dynamics in capitalist extraction. Drawing on ethnographic fieldwork among Congolese workers and European company managers as well as traders, farmers, smugglers, and barkeepers, Hendriks shows how logging is deeply tied to feelings of existential vulnerability in the face of larger forces, structures, and histories. These feelings, Hendriks contends, reveal a precarious side of power in an environment where companies, workers, and local residents frequently find themselves out of control. An ethnography of complicity, ecstasis, and paranoia, Rainforest Capitalism queers assumptions of corporate strength and opens up new ways to understand the complexities and contradictions of capitalist extraction.
Elliott M. Reichardt, MPhil, is a PhD Candidate in Socio-Cultural Anthropology at Stanford University. Elliott conducts fieldwork on Dakelh Territory in Northern British Columbia, on capitalism, forestry, and colonialism. Elliott is studies contestations over profit, property and territory on Indigenous land. Elliott also has long standing interests in medical anthropology and the history of science and medicine.
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In Anti-Blackness and Human Monstrosity in Black American Horror Fiction (Ohio State UP, 2024), Jerry Rafiki Jenkins examines four types of human monsters that frequently appear in Black American horror fiction--the monsters of White rage, respectability, not-ness, and serial killing. Arguing that such monsters represent specific ideologies of American anti-Blackness, Jenkins shows that despite their various motivations for harming and killing Black people, these monsters embody the horrors that emerge when Black American is disassociated from American. Although these monsters of anti-Blackness are dangerous because they can terrorize Black people with virtual impunity, their "anti-Black sadism," as Jenkins calls it, is what makes them repulsive. 
Jenkins examines a variety of these monstrous forms in Tananarive Due's The Between, Victor LaValle's The Changeling, Octavia Butler's Kindred, Nnedi Okorafor's Who Fears Death, and many other works. While these monsters and the texts that they populate ask us to think about the role that anti-Blackness plays in being or becoming American, they also offer intellectual resources that Black and non-Black people might use to combat the everyday versions of human monstrosity.
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Making History Move: Five Principles of the Historical Film (Rutgers UP, 2024) builds upon decades of scholarship investigating history in visual culture by proposing a methodology of five principles to analyze history in moving images in the digital age. It charts a path to understanding the form of history with the most significant impact on public perceptions of the past. The book develops insights across these fields, including philosophical considerations of film and history, to clarify the form and function of history in moving images. It addresses the implications of the historical film on public historical consciousness, presenting criteria to engage and assess the truth status of depictions of the past. Each chapter offers a detailed aspect of this methodology for analyzing history in moving images. Together, they propose five principles to organize past and future scholarship in this vital, interdisciplinary field of study.
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A political history of the rise and fall of American debt relief. Americans have a long history with debt. They also have a long history of mobilizing for debt relief. Throughout the nineteenth century, indebted citizens demanded government protection from their financial burdens, challenging readings of the Constitution that exalted property rights at the expense of the vulnerable. Their appeals shaped the country’s periodic experiments with state debt relief and federal bankruptcy law, constituting a pre-industrial safety net. Yet, the twentieth century saw the erosion of debtor politics and the eventual retrenchment of bankruptcy protections. The Political Development of American Debt Relief (U Chicago Press, 2024) traces how geographic, sectoral, and racial politics shaped debtor activism over time, enhancing our understanding of state-building, constitutionalism, and social policy.
Emily Zackin is Associate Professor in the Department of Political Science at Johns Hopkins University. Her first book was Looking for Rights in All the Wrong Places: Why State Constitutions Contain America’s Positive Rights (Princeton UP, 2013).
Chloe Thurston is Associate Professor in the Department of Political Science at Northwestern University. Her first book was  At the Boundaries of Homeownership: Credit, Discrimination and the American State (Cambridge UP, 2018).
Host Ursula Hackett is Reader in Politics at Royal Holloway, University of London. Her first book was America's Voucher Politics: How Elites Learned to Hide the State (Cambridge UP, 2020).
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