The first book-length study of W. E. B. Du Bois's conceptualization of American whiteness. W. E. B. Du Bois famously argued that whiteness in the US in the late nineteenth and early twentieth centuries functioned as a "public and psychological wage," offering valuable social standing to even the poorest of whites. Such "compensation," dependent on the devaluation of Black existence, helped secure the US capitalist regime and prevent interracial class solidarity. This book argues that Du Bois's influential account of compensatory whiteness is crucially important, but also incomplete. For Du Bois, whiteness was never one thing, but many. Focusing on Du Bois's middle-period work (about 1920-1940), Ella Myers uncovers an overlooked, complex analysis that theorizes whiteness as a source of varied gratifications. These gratifications include not only the status rewards of racial capitalism, but also the enjoyment of gratuitous Black suffering and the conviction that the planet belongs to those marked as "white." The book shows that Du Bois's analysis, developed in response to the pressing political problems of his own day, also offers insight into 21st century struggles for racial justice. Myers argues that it is important to recognize the extent to which anti-Blackness continues to underwrite plural -and deeply disturbing-forms of white gratification here and now. Doing so helps explain the tenacity of America's unequal racial order and also reveals why creative, multifaceted strategies of resistance are necessary to end it.

The Politics of the Wretched argues for ressentiment's generative negativity, prompting a shift from ressentiment as a personal expression of frustration to ressentiment as a collective “No”. Inspired by Kant and Nietzsche's philosophy, Zalloua identifies two modes of deploying ressentiment – private and public use – by substituting ressentiment for reason. This reinterpretation argues for a public use of ressentiment, for the wretched to universalize their grievances, to see their antagonism as cutting across societies, and to turn personal trauma into a common cause. A public use of ressentiment rails against the ideology of identity and victimhood and insists on ressentiment's generative negativity, its own rationality, prompting a shift from ressentiment as a personal expression of frustration to ressentiment as a collective “No”. Reframing ressentiment as a tool to oppose the evils of capitalism, anti-Blackness, and neocolonialism, it both alarms the liberal gatekeepers of the status quo and promises to energize the anti-racist Left in its ongoing struggles for universal justice and emancipation.

Fatal Denial argues that over the past 150 years, US health authorities’ explanations of and interventions into Black infant mortality have been characterized by the "biopolitics of racial innocence," a term describing the institutionalized mechanisms in health care and policy that have at once obscured, enabled, and perpetuated systemic infanticide by blaming Black mothers and communities themselves. Following Black feminist scholarship demonstrating that the commodification and theft of Black women’s reproductive bodies, labors, and care is foundational to US racial capitalism, Annie Menzel posits that the polity has made Black infants vulnerable to preventable death. Drawing on key Black political thought and praxis around infant mortality—from W.E.B. Du Bois and Mary Church Terrell to Black midwives and birth workers—this work also tracks continued refusals to acknowledge this routinized reproductive violence, illuminating both a rich history of care and the possibility of more transformative futures.

What do men-white straight men in particular-want? In a series of witty and provocative investigations of American popular culture, Fred Pfeil exposes the contradictions in the construction of white heterosexual masculinity over the last fifteen years. White Guys probes such topics as the rock'n'roll bodies of Bruce Springsteen, Axl Rose, and the late Kurt Cobain; the "male rampage" films Die Hard and Lethal Weapon and the films of "sensitive transformation" that followed in their wake; and the curious yet symptomatic activities of the men's movement whose "rituals" Pfeil has investigated firsthand.

White Heat is the first book to portray the remarkable relationship between America's most beloved poet and the fiery abolitionist who first brought her work to the public. As the Civil War raged, an unlikely friendship was born between the reclusive poet Emily Dickinson and Thomas Wentworth Higginson, a literary figure who ran guns to Kansas and commanded the first Union regiment of black soldiers. When Dickinson sent Higginson four of her poems he realized he had encountered a wholly original genius; their intense correspondence continued for the next quarter century. In White Heat Brenda Wineapple tells an extraordinary story about poetry, politics, and love, one that sheds new light on her subjects and on the roiling America they shared.

Black Screens, White Frames offers a new understanding of blank screens in cinema. Drawing on Gilles Deleuze's film philosophy and pursuing an affirmative approach to non-images through the concept of the filmmaking machine, author Tanya Shilina-Conte shows how absence can be a productive mode that alters the way we study film.