In Afroindigenization: A Theory of Grassroots Cultural Practice (Duke University Press, 2026), Catherine A. John addresses the underbelly of spiritual resilience shaping a range of African diasporic institutions, traditions, and practices. John argues that repressed forms of indigenous African knowledge systems manifest in a myriad of culturally embodied ways in African diaspora spaces and places. From mermaid lore in rural Jamaica to hip-hop trance-induced dance in Los Angeles to the stories of two debaters-turned-social-media-influencers, John shows how the descendants of enslaved Africans express the signs and substance of their afroindigenous power through collective creativity. Drawing from scholars such as Vèvè Clark, Hortense Spillers, Dianne M. Stewart, and Sylvia Wynter, Afroindigenization exposes the cultural and spiritual ancestries that lie at the heart of modern Black identities and practices.

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Transit Culture and Postcolonial Trauma (Academic Studies Press, 2026) explores transitional post-Soviet cultural consciousness in Ukraine at the beginning of the twenty-first century. The main themes in the book are postcolonial traumas in relation to past empires and old historiographical narratives; post-totalitarian consciousness, which is characterized by sociocultural ruptures, postcolonial resentment, and intergenerational crises; and post-memory as a means of overcoming historical and familial traumas. Against the backdrop of the Chornobyl catastrophe, the book examines the meeting of different generations and views the clown Verka Serduchka as a mediator between the transition from the Soviet to the post-Soviet world. The book focuses on three significant Ukrainian novels written between the two Maidans: The Museum of Abandoned Secrets by Oksana Zabuzhko (2009), Voroshilovgrad by Serhiy Zhadan (2010), and Notes of a Ukrainian Madman by Lina Kostenko (2010).

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In A Matter of Complexion: The Life and Fictions of Charles W. Chesnutt (St. Martin's Press, 2025), Tess Chakkalakal gives readers the first comprehensive biography of Charles W. Chesnutt. A complex and talented man, Chesnutt was born in 1858 in Cleveland to parents who were considered “mixed race.” He spent his early life in North Carolina after the Civil War. Though light-skinned, Chesnutt remained a member of the black community throughout his life. He studied among students at the State Colored Normal School who were formerly enslaved. He became a teacher in rural North Carolina during Reconstruction. His life in the South of those years, the issue of race, and how he himself identified as Black informed much of his later writing. He went on to become the first Black writer whose stories appeared in The Atlantic Monthly and whose books were published by Houghton Mifflin.

Through his literary work, as a writer, critic, and speaker, Chesnutt transformed the publishing world by crossing racial barriers that divided black writers from white and seamlessly including both Black and white characters in his writing. In A Matter of Complexion, Chakkalakal pens the biography of a poor teacher raised in rural North Carolina during Reconstruction who became the first professional African American writer to break into the all-white literary establishment and win admirers as diverse as William Dean Howells, Booker T. Washington, Ida B. Wells, and Lorraine Hansberry.

Tess Chakkalakal, PhD, teaches African-American and American Literature at Bowdoin College. She is the author of Novel Bondage: Slavery, Marriage, and Freedom in Nineteenth-Century America and co-editor of Jim Crow, Literature, and the Legacy of Sutton E. Griggs and Imperium in Imperio: A Critical Edition.

Hosted by: Raymond Williams, PhD, is a political scientist, blogger, and book club administrator with an interest in American history, biographies, and politics. You can find Raymond at Ballasts for the Mind, Instagram, and Threads.

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Celebrated poet, essayist, playwright, and American artist Langston Hughes is one of the few American writers who consistently wrote about democracy from a joyous perspective, and My America explores how his work speaks to the political anxieties and crises we face today. Randal M. Jelks deftly examines the themes in Hughes’s work, including creative expression, communal dignity, class struggle, and human suffering, and what they mean for our inner well-being as democratic persons and political participants.

With care and no-holds-barred insight, My America: Langston Hughes on Democracy (Broadleaf Books, 2026) removes the veneer of respectability often placed on Hughes’s work and life to reveal his political adeptness. In a world threatened by fascism, Hughes’s writing wasn’t afforded the luxury of subtlety. He made a spiritual and political decision to stand on the side of the oppressed. He believed art should be practiced for the sake of justice. And democracy can be practiced with joy.

Dr. Randal Maurice Jelks is an award-winning author, documentary film producer, and professor. He is the author of four books. His writings have appeared in the Boston Review, the Los Angeles Review of Books, blogs, journals, and periodicals. You can learn more about him and his work at his website.

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Today’s guest, Christopher Freeburg, is the author of Soul: A Brief History of Black Cultural Life (Yale University Press, 2026). This book explores the US history of black cultural life as a history of soul – a spiritual lived practice rooted in communally fostered music, religion, and politics. It makes the case that soul is forged through black community connections and that it’s sustained by moral principles, or pillars, which define how it is lived. The book’s four chapters are organized around four of these pillars: resonance, revelation, resilience, and transcendence. A number of black individuals are foregrounded in these discussions: they include Phillis Wheatley, Gwendolyn Brooks, Nina Simone, Jewel Thais-Williams, Barack Obama, and others.

By telling their stories, and by honoring the weight of the trauma and violence that has long befallen the black community, Christopher Freeburg’s Soul invites its readers to commune with the soul power of people who brought about transformation in the face of seeming impossibility.

Jane Hwang Degenhardt is Professor English at the University of Massachusetts Amherst. She is the author of Globalizing Fortune on the Early Modern Stage (Oxford UP, 2022) and Islamic Conversion and Christian Resistance on the Early Modern Stage (Edinburgh UP, 2012). She is also a co-editor of the academic journal English Literary Renaissance.

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China’s early medieval period, from the fifth through the early seventh century, from the Northern and Southern Dynasties through the unified Sui, was a time of political fragmentation, military strife, and ethnic conflict. It also witnessed brilliant artistic creations as well as a full flowering of court culture, with poetry at its heart. How did poetry come to be regarded as the most potent form of cultural capital, a privileged literary genre, and a foundational skill for members of the elite? How was poetry transformed from an instrument of empire building to a venue for articulating personal trauma and voicing critique of the state?

Tracing the evolution of poetry’s role in Chinese society, Writing Empire and Self: Poetic and Cultural Transformation in Early Medieval China (Columbia University Press, 2026) uncovers the profound cultural changes that took place in the early medieval era. Dr. Xiaofei Tian argues that in this period, a social community, eventually known as the “scholar elite” and treated as if it had always been a permanent fixture of the Chinese social order, came into being. She investigates the formation of this community, which left its mark on all later Chinese arts and letters, through a careful account of its history and textual production. Combining meticulous readings of numerous previously untranslated texts with a long-term, large-scale view of social and cultural history, Writing Empire and Self offers a fresh perspective on poetry’s intricate relationship with the state.

This interview was conducted by Dr. Miranda Melcher whose book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. You can find Miranda’s interviews on New Books with Miranda Melcher, wherever you get your podcasts.

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What does it mean for a modernist novel to fail?

Modernism famously celebrates rupture, difficulty, and deviance from literary norms—but that very embrace of formal experimentation creates a paradox: how can we tell the difference between daring innovation and genuinely bad writing? Bad Writing in the Modernist Novel (JHU Press, 2026) takes up this long-overlooked question and argues that modernist aesthetics have made artistic failure uniquely difficult to recognize, both in fiction and in literary criticism itself.

Through incisive close readings of D. H. Lawrence, William Faulkner, Mina Loy, and James Joyce, Nathan Wainstein shows how moments that appear to be mistakes—awkward repetitions, temporal glitches, excessive prose, or stylistic lapses—often hover ambiguously between error and experiment. These moments, he argues, have become privileged objects of interpretation for critics trained to find meaning precisely where form seems to break down. Wainstein situates these textual breakdowns within debates about intentionality, authorial control, and critical authority, showing how modernist fiction unsettles long-standing assumptions about craft and competence. In doing so, the book clarifies why modernist novels continue to generate intense critical attention—and why questions of value and judgment remain so difficult to resolve.

At once a work of modernist literary criticism and a searching reflection on the practice of close reading, Bad Writing in the Modernist Novel rethinks how aesthetic judgment operates in a field shaped by modernism's legacy. By confronting the possibility of genuine failure head-on, Wainstein offers a fresh account of the novelistic form and the pleasures and limits of interpretation.

Nathan Wainstein is an assistant professor of English at the University of Utah. He is the author of Grant Us Eyes: The Art of Paradox in Bloodborne. He is also the cohost of the podcast Authors Die Twice.

Daniel Moran’s writing about literature and film can be found on Pages and Frames. He earned his B.A. and M.A. in English from Rutgers University and his Ph.D. in History from Drew University. The author of Creating Flannery O’Connor: Her Critics, Her Publishers, Her Readers, he teaches writing and co-hosts the long-running podcast Fifteen-Minute Film Fanatics, available here on the New Books Network and wherever podcasts are found.

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