Given the current moment—polarized populations, increasing climate fears, and decline of supranational institutions in favor of a rising tide of nationalisms—it is easy to understand the proliferation of apocalyptic and dystopian elements in popular culture. Infected Empires examines one of the most popular figures in contemporary apocalyptic film: the zombie. This harbinger of apocalypse reveals bloody truths about the human condition, the wounds of history, and methods of contending with them. Infected Empires considers parallels in the zombie genre to historical and current events on different political, theological and philosophical levels, and proposes that the zombie can be read as a figure of decolonization and an allegory of resistance to oppressive structures that racialize, marginalize, disable, and dispose of bodies. Studying films from around the world, including Latin America, Asia, Africa, the US, and Europe, Infected Empires presents a vision of a global zombie that points toward a posthuman and feminist future.

Through a detailed unpacking of the castaway genre’s appeal in English literature, Empire Islands forwards our understanding of the sociopsychology of British Empire. Rebecca Weaver-Hightower argues convincingly that by helping generations of readers to make sense of—and perhaps feel better about—imperial aggression, the castaway story in effect enabled the expansion and maintenance of European empire. Empire Islands asks why so many colonial authors chose islands as the setting for their stories of imperial adventure and why so many postcolonial writers “write back” to those island castaway narratives. Drawing on insightful readings of works from Thomas More’s Utopia to Caribbean novels like George Lamming’s Water with Berries, from canonical works such as Robinson Crusoe and The Tempest to the lesser-known A Narrative of the Life and Astonishing Adventures of John Daniel by Ralph Morris, Weaver-Hightower examines themes of cannibalism, piracy, monstrosity, imperial aggression, and the concept of going native. Ending with analysis of contemporary film and the role of the United States in global neoimperialism, Weaver-Hightower exposes how island narratives continue not only to describe but to justify colonialism. Rebecca Weaver-Hightower is assistant professor of English and postcolonial studies at the University of North Dakota.

This edition was originally reprinted in 1899 with a few notes concerning Assyrian history.

2022 Heggoy Prize from the French Colonial Historical Society Royal Historical Society's 2022 Gladstone Book Prize Shortlist Hostages of Empire combines a social history of colonial prisoner-of-war experiences with a broader analysis of their role in Vichy's political tensions with the country's German occupiers. The colonial prisoners of war came from across the French Empire, they fought in the Battle for France in 1940, and they were captured by the German Army. Unlike their French counterparts, who were taken to Germany, the colonial POWs were interned in camps called Frontstalags throughout occupied France. This decision to keep colonial POWs in France defined not only their experience of captivity but also how the French and German authorities reacted to them. Hostages of Empire examines how the entanglement of French national pride after the 1940 defeat and the need for increased imperial control shaped the experiences of 85,000 soldiers in German captivity. Sarah Ann Frank analyzes the nature of Vichy's imperial commitments and collaboration with its German occupiers and argues that the Vichy regime actively improved conditions of captivity for colonial prisoners in an attempt to secure their present and future loyalty. This French "magnanimity" toward the colonial prisoners was part of a broader framework of racial difference and hierarchy. As such, the relatively dignified treatment of colonial prisoners must be viewed as a paradox in light of Vichy and Free French racism in the colonies and the Vichy regime's complicity in the Holocaust. Hostages of Empire seeks to reconcile two previously rather distinct histories: that of metropolitan France and that of the French colonies during World War II.

The dead refuse to stay dead. The Reaper is here to put them down. As winter sets in and America’s survivors struggle to rebuild a semblance of civilization, terrifying new enemies are gathering—both in the lawless badlands and within the walls of the safe zone. Most fearsome of all is the “King of the Dead.” His zombified troupe of sideshow curiosities is but a fraction of his growing pack. The Reaper’s quest to safeguard the humans he has befriended places him on the trail of these feral undead. But he is sorely unprepared for the return of the zombie transformed by his own flesh, the Omega—a fiend driven by something more sinister than any virus. Meanwhile, Death’s questions about his origin haunt him, and he is close to the answers... but the worst of both the living and the dead are rising in his path, and he’ll have to cut them all down to reach the cosmic endgame.