Lewis Carroll Bibliography, Renaissance Libraries, and the Unfinished Work of Great Writers : December Books Roundup

Our regular look at new books that have recently caught the eye of our print and online editors this month. The Study: The Inner Life of Renaissance Libraries by Andrew HuiHui focuses on the Renaissance ‘studiolo’ (“little studio”) and what they offered owners such as Petrarch and Montaigne, as well as his personal journey as a bibliophile, and imaginary libraries in Rabelais, Cervantes, and Shakespeare, plus depictions of saintly bibliophiles in paintings including Virgin Mary and St. Jerome. He brings the story up to date with discussions of Jorge Luis Borges and Umberto Eco.  Iillustrated. Published by Princeton University Press.A History of Old English Verse Layout: Poetics on The Page by Rachel A. BurnsArc Humanities Press’s Book Cultures series continues with this look at Old English poetic mise-en-page, and in particular lineation, from early Latin writings in England to 21st century editions.Charles Lutwidge Dodgson (Lewis Carroll): A Bibliography of Works Published in His Lifetime compiled by Charlie LovettFrom the University of Virginia Press comes lifelong enthusiast Charlie Lovett’s updated (from the previous 1979 edition) authoritative bibliography of publications by Carroll during his lifetime (1832–1898).Dogs in Early Photography by John KohBook collector and owner of Bernard Quaritch in London (which publishes this book), John Koh has built up a large private collection of 19th century photographs of dogs. The collection of dog photography is being donated to the Bodleian’s early photography holdings.Memories of Distant Mountains by Orhan PamukThe illustrated journals of the Turkish Nobel Prize–winning author featuring his own paintings. Pamuk kept a daily record of his thoughts in small notebooks which are here brought together in one volume. Subjects include his writing proces, travels, and observations on Turkey. From Knopf.Theatrical Adventures of Edward Gorey: Rare Drawings, Scripts, and Stories by Carol VerburgFrom Gorey’s close friend and collaborator Carol Verburg, this highly illustrated volumed contains annotated scripts, archival photos and previously unpublished artwork, and is the first book to concentrate on his life in theater from community theater to major productions . Published by Chronicle BooksDante’s Divine Comedy: A Biography by Joseph LuzziA history of Dante’s masterpiece and its influence on the writers and artists of his day right up to the present, including its impact on John Milton, Mary Shelley, James Joyce, and Primo Levi. From Princeton University Press Readers for Life: How Reading and Listening in Childhood Shapes Us edited by Sander L. Gilman and Heta PyrhönenA collection of original essays by writers and literary scholars about the significant effects reading has on us all from childhood and into adulthood. With pieces by Salman Rushdie, Natalya Bekhta, Peter Brooks, Philip Davis, Linda and Michael Hutcheon, Sander L. Gilman, Daniel Mendelsohn, Laura Otis, Laura Oulanne, Heta Pyrhönen, Cristina Sandu, Pajtim Statovci, and Maria Tatar, plus an interview with Michael Rosen. Published by University of Chicago Press.Revisionaries: What we can learn from the lost, unfinished, and just plain bad work of great writers by Kristopher JansmaFrom Quirk Books, a look at the things which 20 major writers decided was better filed in the bin or the back of the drawer. Jansma looks at forgotten drafts and abandoned ideas of Kafka, Octavia Butler, Ralph Ellison, Louisa May Alcott and F. Scott Fitzgerald.An Atlas of Endangered Alphabets by Tim BrookesWriting systems are in as much danger of extinction as languages around the world, around 85% of the total number according to Brookes who examines those in particular peril, what we will lose if they finally disappear, and the people trying desperately to save them. From Mobius, formerly known as Quercus.Didion and Babitz by Lili AnolikA dual biography of two literary titans, Joan Didion and Eve Babitz. Anolik pays especial attention to Babitz’s intimate, diary-like letters found in sealed boxes after her death. Published by Scribner.Stranger Than Fiction: Lives of the Twentieth-Century Novel by Edwin FrankThe editor, poet and the founder/editorial director of the New York Review of Books’ Classics series analyses how novelists in the last century attempted to adapt the novel form to modern times and answer questions about how to live better lives. The roll call of authors under his international microscope include Dostoevsky, H.G. Wells, Colette, Chinua Achebe, Vasily Grossman, Gabriel García Marquez and W.G. Sebald. Published by  Farrar, Straus and Giroux

Mediagenix names Langlais as NA Business Development Manager

Mediagenix, a specialist in software solutions for content strategy, content value management, and content scheduling, has announced the appointment of Bruno Langlais as Business Development Manager for North America. With over 25 years of experience driving sales strategy in the media and entertainment industry, Langlais will play a key role in further positioning Mediagenix as a partner for broadcasters, streaming platforms, and content creators.
Langlais will build strategic partnerships and elevate go-to-market strategies for Mediagenix’s media management platform and software solutions in North America. Leveraging his expertise, he will help Mediagenix customers to optimise their media operations, manage the entire lifecycle of their content, and help them drive growth through data-driven decision-making and scalable multi-platform engagement.

Before joining Mediagenix, Langlais served as Senior Sales Director, Americas, at Ateliere Creative Technologies, where he developed successful sales strategies targeting major studios and content providers. He also spearheaded initiatives to tap into new market segments, including news and sports, and managed relationships with key partners.
Eric Carson, Managing Director, Americas at Mediagenix, commented: “Bruno brings an impressive track record of driving growth for media companies, coupled with extensive expertise in content management and workflow automation. His industry insights will be invaluable as we expand our presence in the Americas. We’re thrilled to welcome Bruno to the team and look forward to strengthening our customer relationships and uncovering new opportunities to deliver transformative scheduling, title management, strategic planning, budgeting and content recommendation solutions to the market.”
“I am thrilled to join Mediagenix and leverage my experience to drive growth and establish the company as an industry leader. I look forward to collaborating with our partners and customers to adapt to their evolving needs and business models,” added Langlais.

The Best Films of 2024

2024 in ReviewThe Best Films of 2024The year’s strongest films offered thrilling affirmation of cinema as a global medium.By Justin ChangDecember 18, 2024Play/Pause ButtonPauseIllustration by Daniel JurmanSave this storySave this storySave this storySave this storyIn “A Complete Unknown,” the new film directed by James Mangold, a young Bob Dylan (Timothée Chalamet) impulsively slips into a movie theatre with his girlfriend, Sylvie (Elle Fanning), to catch a matinée. It turns out to be the classic 1942 melodrama “Now, Voyager,” starring Bette Davis as a shy spinster, Charlotte Vale, who undergoes a profound personal transformation—one with maybe too obvious resonance for Dylan, who will soon be celebrated for the mutability of his identity and the incandescence of his stardom. “Don’t let’s ask for the moon,” Charlotte breathes. “We have the stars”—a justly famous line that bestows a kind of anticipatory magic on the genius in the audience. Dylan will soon eclipse the moon and the stars; he’s a whole damn constellation unto himself.More than a few movie characters went to the movies this year. It’s fun to consider why they watch what they do—what the filmmakers are trying to signal. Some characters go for a quick turn-on, like László Tóth (Adrien Brody), who, early on in Brady Corbet’s immigrant drama, “The Brutalist,” seeks refuge from a cold, lonely night in a Philadelphia porn theatre. William Lee (Daniel Craig), the lusty protagonist of Luca Guadagnino’s William S. Burroughs adaptation, “Queer,” is a man of more rarefied cinematic tastes; he takes a date to see Jean Cocteau’s “Orpheus” (1950), hoping, of course, that a few hours in the dark will offer a preview of coming attractions. But the scene has a deeper layer of meaning: in Cocteau’s dreamlike masterpiece, we see a warped mirror to Lee’s own soon-to-be-thwarted longing.2024 in ReviewNew Yorker writers reflect on the year’s highs and lows.What picture does Prabha (Kani Kusruti), a nurse, go to see in Payal Kapadia’s lovely Mumbai-set drama, “All We Imagine as Light”? It’s unclear, but it scarcely matters; if you have ever gone to the movies to escape your own loneliness—to vanish, for a few hours, into the solace of a crowd—you might recognize the happy-sad glimmer in Prabha’s eyes.Sometimes, even a tornado goes to the movies: in the hit summer blockbuster “Twisters”—whose director, Lee Isaac Chung, is, full disclosure, a friend—a huge storm blows into a small Oklahoma town, laying waste to the local theatre and carrying off a couple of ill-fated audience members. When I first saw that sequence, I gasped—and then chuckled a little. The image of a theatre screen, torn asunder by a computer-generated storm, made for a remarkably blunt metaphor for the death of cinema—an inevitability, according to various movie-industry doomsayers. It’s easy to sink into existential gloom about the movies, to succumb to anxieties about diminished box-office returns, dwindling theatrical-release windows, and the increasingly fickleness of the post-pandemic audience. Sure, on occasion they’ll rouse themselves and head to the multiplex for a buzzy sequel such as “Inside Out 2,” “Dune: Part Two,” or “Gladiator II.” Yet the best “2” movie I saw this year, Clint Eastwood’s “Juror #2,” wasn’t a sequel, and its theatrical release was insultingly perfunctory.Most of my favorite movies of 2024 premièred at overseas film festivals, only to flit through U.S. theatres for a few weeks at most. One of them, the luminous Italian drama “La Chimera,” was one of the year’s rare art-house success stories; another, the Palestinian-Israeli documentary “No Other Land,” still hasn’t found an American distributor, and possibly never will. A few of my favorites have yet to open; some are already streaming. That latter category includes my No. 1 title, an ode to the glories of cinema that ends, in an utterly magical sequence, with all its major characters entering a movie theatre. What are they watching, and why? You’ll have to find out for yourself. Don’t stream it on your phone.Here, then, are the ten—no, eleven—best movies of 2024. With one exception, I have arranged the titles in pairs, firm in my belief that the movies speak to each other as deeply as they spoke to me.1. “Close Your Eyes”José Coronado in “Close Your Eyes.”
Photograph courtesy Film Movement / Everett CollectionAfter a years-long absence from filmmaking, an octogenarian legend reëmerges with a work of art that seems like a career summation. Francis Ford Coppola’s passionate, dazzling, and inevitably polarizing “Megalopolis”? Well, yes (and it’s celebrated further down my list). But the description applies more powerfully to “Close Your Eyes,” the first new feature in more than three decades from the Spanish auteur Víctor Erice, who remains best known for his 1973 début feature, “The Spirit of the Beehive.” His latest brings that masterwork full circle. It begins as a cinephile detective story—in which a retired filmmaker (Manolo Solo) sets out to solve a long-ago disappearance—and then morphs into a wry Hawksian drama of friendship and discovery. In its transcendent final passages, the film takes on the eerily consoling hush of a séance, as if it were confronting us with the very spirit of cinema itself.2. “Do Not Expect Too Much from the End of the World”3. “Evil Does Not Exist”Much of the action in Radu Jude’s “Do Not Expect Too Much from the End of the World,” a riotously profane and funny jaunt around Bucharest, concerns the filming of a workplace-safety video that, from the start, is clearly a managerial ass-save—an attempt to further exploit those who have already been harmed in occupational injuries. A similarly ill-motivated stab at corporate appeasement figures into Ryûsuke Hamaguchi’s deeply haunting drama “Evil Does Not Exist,” which is mostly set in a Japanese village that comes under serious environmental threat. It isn’t just the indictments of collective greed and individual complacency that make Jude’s and Hamaguchi’s films so vital; it’s the way that the directors transfigure aesthetic gambits into moral arguments, deploying formal elisions and narrative ruptures that feel as destabilizing as the modern world itself.4. “Nickel Boys”5. “A Different Man”Ethan Herisse and Brandon Wilson in “Nickel Boys.”
Photograph courtesy MGM / Everett CollectionThe two most daring and accomplished American movies of the year are also, at first glance, the most dissimilar. RaMell Ross’s “Nickel Boys,” stunningly drawn from Colson Whitehead’s Pulitzer Prize-winning 2019 novel, sustains a rigorous first-person perspective—toggling between two principal characters, both Black teen-agers incarcerated at a juvenile-reformatory facility in Jim Crow-era Florida—to achieve the most lyrical feat of literary adaptation in many a moon. Aaron Schimberg’s “A Different Man” is a darkly deranged comic fantasia, assembled from a grab bag of mad-scientist horrors, Woody Allen meta-conceits, Roman Polanski paranoiacs, and various barbed, discourse-baiting ideas about authenticity, privilege, and artistic integrity. It’s a patchwork, but one that keeps accumulating ever more brilliant and elaborate patterns of meaning. No spoilers here, but each movie builds to a high-wire moment of physical and psychological transference, while expanding the conceptual possibilities of audience identification—both inside and outside the frame.6. “La Chimera”7. “Music”In which myth becomes breathtakingly modern—and utterly sui generis. The Italian director Alice Rohrwacher rediscovers Orpheus and Eurydice under the Tuscan sun in “La Chimera,” a romantic adventure in which a present-day tomb raider (Josh O’Connor, never better) digs deep for his lost love. Far more explicitly, the German filmmaker Angela Schanelec revisits Oedipus Rex in “Music,” a meticulously plotted riddle about a man who is swept up, with astonishing swiftness and zero exposition, in an ordeal he can scarcely comprehend. The gods prove cruel but not omnipotent, and the modern settings exert their own redemptive pull; the final effect is that of a magic trick, in which the characters manage, in each film’s miraculous closing moments, to slip the bonds of tragedy.8. “No Other Land”9. “Green Border”Two galvanic portraits of mass displacement and dehumanization that generated passionate acclaim and furious blowback. In the harrowing, multi-threaded drama “Green Border,” the veteran filmmaker Agnieszka Holland reveals the Polish-Belarusian boundary to be its own circle of geopolitical Hell, where refugees are abused, politically weaponized, and subject to never-ending horrors; the result is a drama of extraordinary tension and lucid anger, but also of clear-eyed pragmatism, particularly when the focus shifts toward the work of Polish activists, who help whomever they can in impossible circumstances. Activism is also central to the bracing, infuriating documentary “No Other Land,” which details a moving friendship between two men, one Palestinian and one Israeli, as they turn cameras on the Israeli government’s demolition of homes in the occupied southern West Bank. The four filmmakers—a Palestinian-Israeli collective, consisting of Basel Adra, Hamdan Ballal, Yuval Abraham, and Rachel Szor—were brave enough to keep filming; with any luck, a U.S. distributor will muster even an ounce of their courage.10. “All We Imagine as Light”11. “Hard Truths”Divya Prabha in “All We Imagine as Light.”
Photograph courtesy petit chaosThe Indian filmmaker Payal Kapadia, in her emotionally overflowing narrative début, “All We Imagine as Light,” inflects fine-grained storytelling with a documentarian’s resourcefulness and insight. In “Hard Truths,” his latest film of many, the English director Mike Leigh hones and intensifies a signature workshop process that empowers his actors to plumb rare depths of emotional truth. What emerged from these realist exercises were two of the year’s most trenchant dramas about women, marked by harmoniously balanced acting—from Kani Kusruti and Divya Prabha in “All We Imagine as Light,” and from Marianne Jean-Baptiste (in the performance of the year) and Michele Austin in “Hard Truths.” Their work affirms the rewards of female solidarity without pretending that the road to happiness is ever anything, in the end, but a personal journey.And to make an even twenty, here are nine honorable mentions, in alphabetical order:“Anora”Sean Baker’s virtuoso farce rivals Radu Jude’s as a portrait of a working girl driven to gig-economy extremes; in Mikey Madison, a star is born.“Blitz”Steve McQueen’s beautifully composed drama shows us war through a Black child’s eyes, and it’s a revelation.“The Brutalist”Brady Corbet built it, and you should come—for its classical sweep, its visual majesty, but, most of all, for Guy Pearce.“Dahomey”Mati Diop’s brilliantly conceived documentary, about a historic act of postcolonial repatriation, gives everyone (and I do mean everyone) a voice.“Here”The Belgian director Bas Devos renews your appetite—for soup, for companionship, and for cinema that treads lightly yet lingers deep in the memory.“Inside the Yellow Cocoon Shell”Watching this staggering début feature, from the Vietnamese filmmaker Phạm Thiên Ân, is like riding a motorcycle through a ghostly landscape between town and country, reality and dream, the living and the dead.“Janet Planet”In Annie Baker’s pitch-perfect first film, a mother and a daughter drift beautifully out of alignment.“Megalopolis”For Francis Ford Coppola to realize this gloriously bonkers fever-dream project required decades of patience and, in the end, a good share of his own Northern California vineyards. Fittingly, its most art-averse detractors responded with an awful lot of whine.“A Real Pain”Jesse Eisenberg’s wonderful tourist-de-force comedy, in which he and Kieran Culkin play cousins on a trip through Poland, lightly ponders the weight of individual suffering, historical trauma, and the vast chasm that swallows and unites them. ♦

German business sentiment hits lowest since May 2020: ifo

Sentiment among businesses in Germany has declined further, as the ifo Business Climate Index dropped to 84.7 points in December from 85.6 points in November, marking the lowest level since May 2020. This downturn reflects more pessimistic expectations for the future, though companies assessed their current situation more favourably.The manufacturing sector was hit hardest, with the index falling sharply as companies reported decreased satisfaction with current business conditions. The outlook also worsened, with companies expecting further deterioration in the order situation and planning production cuts.In the trade sector, the index failed to sustain its recent upward momentum. Both wholesale and retail sectors expressed growing dissatisfaction with current business, pessimism about future conditions also increased.
Fibre2Fashion News Desk (HU)

Dana Perino’s Book Club: Top Reads of 2024

It’s the most wonderful time of year: Dana Perino is back to share her top reading recommendations!

The Co-Anchor of America’s Newsroom, Co-Host of The Five, and Host of the Perino On Politics podcast reflects on books she’s read and listened to this year — and which ones she
believes people should add to their shelves depending on what genres and themes they enjoy most. 

Follow Martha on X: @MarthaMacCallum
Learn more about your ad choices. Visit podcastchoices.com/adchoices

Difference Without Power – In her recent book, The Reeducation of Race, Sonali Thakkar excavates the mid-century roots of contemporary liberal anti-racism.

In the years following World War II, a group of prominent social scientists sought to discredit the profoundly destructive idea that race is an immutable biological fact. The Nazi genocide had notoriously relied on rigid “race thinking,” and this cohort of scholars—among them Jewish anthropologists Ashley Montagu and Claude Lévi-Strauss (British American and French, respectively), and Black American sociologist E. Franklin Frazier—hoped to seal that brutality firmly in the past by offering the world an authoritative alternative understanding of race. The group came together in 1949 in Paris at the request of the United Nations Educational, Scientific and Cultural Organization (UNESCO), which had been founded three years earlier as the educational and cultural arm of the newly established United Nations. The group’s work on the so-called “race question” culminated in the 1950 UNESCO Statement on Race.
Central to this document were two concepts: plasticity and educability. Drawing on the turn-of-the-century anti-racist work of German American anthropologist Franz Boas, the UNESCO statement theorized characteristics associated with race—including physical form—as subject to change, according to environmental factors, social influences, and genetic fluctuation. Relatedly, these scholars emphasized, humans have the capacity to learn and develop, such that misguided ideas about race can themselves be overcome. To many contemporary readers, these guiding concepts may feel familiar. Indeed, they form the basis today’s liberal anti-racism, which continues to bestow a progressive sheen on the idea that race is not fixed, as well as to promote education as a solution to the persistence of racism.
In her recent book, The Reeducation of Race: Jewishness and the Politics of Antiracism in Postcolonial Thought (Stanford University Press, 2023), literary scholar Sonali Thakkar explores this pivotal mid-century moment of racial formation to consider the implications of its enduring afterlife. Reading UNESCO’s 1950 Statement on Race alongside oft-quoted texts by anti-colonial writers like poet Aimé Césaire and psychiatrist Frantz Fanon, Thakkar considers how racial plasticity and reeducation became core tenets of a new racial world order that, for all its insistence on closing the door on history, was not wholly discontinuous with the past. Indeed, although the authors of the UNESCO statement sought to enact what she calls an “antiracist pedagogical imperative”—producing a definition of race that would put “science in the service of human rights”—their orientation was nonetheless shaped by a commitment to the colonial order in which UN member states remained invested. What they ultimately put forward, Thakkar shows, was a blueprint for talking about anti-racism while bypassing questions of power.
Central to Thakkar’s work is an exploration of how mid-century thinkers theorized the convergences and divergences of racism, antisemitism, and colonialism. By generating new pathways for interrogating the relationships between Jewishness and Blackness in the context of postwar anti-racism, she equips us to better understand what’s at stake in the ways that racism and antisemitism are opposed in mainstream political discourse today. I spoke with Thakkar about contemporary campaigns to institutionalize definitions of identity-based oppression, the limits of scientific critiques of racism, and her ambivalence about education as an anti-racist tool. This conversation has been edited for length and clarity.
Ben Ratskoff: There’s a wealth of work theorizing race and racism, but there is much less scholarly consideration of anti-racism—how it’s conceptualized and how it functions politically. What led you to start thinking critically about anti-racism?
Sonali Thakkar: I originally set out to write a book about migrants to Europe in the postwar period encountering the emerging Holocaust memory culture. I was interested in how Holocaust memory was deployed to assimilate certain migrants according to liberal visions of belonging, even as it was simultaneously called upon to insist on the unassimilable nature of others. For instance, Turkish Germans have long had to demonstrate their willingness to participate in German memory culture as a mark of their fitness for citizenship and cultural recognition. But that’s not so easy: Muslim Germans are often treated as impediments to German memory culture, stereotyped as antisemites and required to endure various kinds of remedial education, as the scholar Esra Özyürek shows in her book Subcontractors of Guilt. At the same time, there are people like the British Caribbean writer Caryl Phillips, who strongly identify with the Jewish experience of persecution because it resembles aspects of their own experience of racial stigma and suffering. I wanted to understand these splits and differences.
I started to look more closely at the early postwar period. I was struck that, in the wake of a world historical rupture for which race science was broadly understood as responsible, UNESCO undertook a global project to promote anti-racism. The reason for doing so was, of course, to try and root out the kind of racial thinking that had led to the Nazi Holocaust. But it was also an attempt to stabilize the terms of racial discourse. They wanted to clarify: This is what we think race is. This is what we think culture is. Here is this other language of “ethnic group” that we would like you to use. Yet the more they tried to fix racial terminologies, the more contradictions they introduced—and the more the incoherence of the entire project was revealed.
BR: I can’t help but think about the kind of definitional frenzy we’re in right now around antisemitism. There’s the International Holocaust Remembrance Alliance (IHRA), the Jerusalem Declaration on Antisemitism, the Nexus Document . . . Many people seem to feel that institutional definitions are a necessary tool in the struggle against antisemitism—that if we can pin down some essential meaning of antisemitism, we can effectively manage and regulate it. How can looking at UNESCO’s mid-century work help us evaluate the role of institutional definitions today?
ST: After World War II, new institutions of liberal governance, like the United Nations, sought to intervene in a question that was very live: How was the international order going to be remade? These institutions forcefully rejected the idea of race-as-essence that underpinned colonial ideologies—but, importantly, they still promoted an imperial world order. As W. E. B. Du Bois pointed out: The UN was a “plan for world government designed especially to curb aggression, but also to preserve imperial power and even extend and fortify it.” Rather than contend with questions of power and exploitation, UNESCO’s 1950 Statement on Race basically said, This too shall pass—that because of genetic fluctuation and hybridization, as well as other biological and social processes including migration, assimilation, and intermarriage, racial characteristics and categories will change with time. It was easier for the authors to imagine an end to race as they knew it than it was to interrogate the kinds of transformed political arrangements that an end to racism would entail.
This should sound a cautionary note for us today: Definitions—which stabilize terms and powerfully delimit what is sayable, and even what is thinkable—can function as alibis for certain forms of injustice. For instance, the IHRA definition is accompanied by examples that equate certain expressions of anti-Zionism with antisemitism and, in so doing, dangerously limit criticism of Zionism as a political ideology; we know that various bodies—including numerous states within the US, some European nations, and many universities and civil society organizations—are adopting or endorsing this definition specifically to restrict what can be said and studied, often owing to intense lobbying and political pressure.
BR: The idea that racism exists because of scientific misunderstandings about the nature of race is central to liberal common sense. As long as you don’t believe in “biological race,” the reasoning goes, you’re not racist. This logic derives significantly from the mid-century attempt to reject the kind of race thinking associated with Nazi eugenics and genocide. Can you say more about the role of Jewish social science in the project?
ST: The UNESCO statement is a document of Jewish politics in several ways. Most obviously, responding to Nazi antisemitism is the main rhetorical frame for the whole project. Several of the scientists who wrote the 1950 statement were Jewish, and their own experiences of antisemitism shaped their involvement in the project. This is borne out in material ways: For example, Claude Lévi-Strauss escaped Vichy France and his work with UNESCO was occasioned by his exile in the United States, which brought him into contact with a cohort of scientists who were thinking about race, including, notably, the anthropologist Franz Boas, himself a German Jew, who had immigrated to the United States amid growing antisemitism in his native country. What I find more important than the biographical facts of particular scientists’ lives, though, is the ways in which these scholars were drawing on concepts from Jewish social science—which the historian Mitchell Hart defines in his book Social Science and the Politics of Modern Jewish Identity, as “Jewish knowledge about contemporary [Jewish] social conditions.”
In fact, the very concept of racial plasticity that so influenced the 1950 statement is drawn from debates in early 20th century Jewish social science, particularly from Boas’s writing. In the early 1900s, Boas was working for the US Immigration Commission, assessing how to determine the assimilability—or lack thereof—of migrants arriving in the US from, among other places, eastern and southern Europe. Working against the grain of prevalent anthropological ideas about the invariability of certain kinds of racial traits, he claimed that within as short a span as a generation, people’s physical forms changed under the influence of this new environment (presumably owing to changes in climate and air, nutrition and hygiene, housing arrangements, and so on); and so, he argued, we should think about race as plastic rather than fixed. His methods were not so far off from those we associate with scientific racism: He was basically measuring heads, but with an anti-racist agenda. For Boas, who began his project working with Jewish immigrants, Jewishness was paradigmatically plastic. Wherever Jews have been, he contended, they have assimilated. This became an important prong of his later anti-Nazi activism. The more we can use these plastic capacities for assimilation, he maintained, the better we can contest racism.
UNESCO’s race project carried Boas’s thinking forward. So, while it’s true that UNESCO wanted to do the important work of saying that the era of scientific racism was over, they did, in fact, retain many characteristic assumptions of that era. Their statement does not quite say that there is no science of race, but rather that the science of race has been practiced by the wrong people: You lay people should understand that those things often described as racial differences are better understood as cultural or ethnic differences. We scientists are the ones who are actually able to understand what race really is. These scientists really did believe that all people are plastic—and that this is the paramount human capacity that will allow racial differences to change and so facilitate the overcoming of racial prejudice—but, crucially, for them, some people are more plastic than others.
BR: How did these scientists explain this uneven capacity for plasticity?
ST: The United Nations Human Rights Division asked the authors of the statement to stress equality as a value. When you trace the drafts, however, you can see that the authors are not quite willing to commit to a claim about the equality of all people: An early draft states that “all human beings of whatever race have always and everywhere shown themselves to be equally able to share in a common life,” but the amended final published statement says, “All normal human beings are capable of learning to share in a common life.” The authors replace equality with educability. This is a hedge: Rather than make a statement about equality in the present, foregrounding educability is a way of saying, With some transformation, we can perhaps get to equality. Plasticity is important; it is the capacity for change. But plasticity isn’t on its own sufficient. It has to be directed, managed, cultivated—and educability offers that.
BR: How were these ideas of plasticity and educability received?
ST: The 1950 statement was so controversial among scientists that UNESCO published a revised 1951 statement, which asserted that there is, after all, a certain undeniable, common sense understanding of race—that we know race when we see it. So the promise of plasticity is then withdrawn, even as it’s proffered. It is precisely this bait-and-switch that I think we can see Frantz Fanon engaging with in Black Skin, White Masks when he writes, in Richard Philcox’s translation, “The Jewishness of the Jew, however, can go unnoticed . . . He is a white man, and apart from some debatable features, he can pass undetected . . . Of course the Jews have been tormented—what am I saying?—They have been hunted, exterminated, and cremated, but these are just minor episodes in the family history.” To my mind, we have to situate this claim in light of his sense of how the promise of plasticity is differentially distributed. We might read him alongside Boas, who, in an earlier 20th-century moment, wrote about a Jewish capacity for changeability and assimilation, as well as about a “line of cleavage” between Black and white racial forms that makes Blackness more difficult to change or to assimilate. So, Boas’s account of Blackness as something that resists transformation, in contrast to the plasticity of Jewishness, actually exemplifies what Fanon would polemically critique in 1952: that Jewish people could assimilate into the white “family” in ways Black people could not.
BR: A lot of people think of Nazism as being structured around the idea of superior and inferior races. To a large extent, that’s true. But the notion of Jewish plasticity—which prewar Jewish social scientists held to be evidence that Jews could transcend their racial subordination—was, in fact, a part of Nazism. In a lot of Nazi racial ideology, the idea was actually that Jews were almost this anti-race—they were mixed-ness incarnate—and that’s precisely why targeting them through domination and exploitation was ineffective. They could not be reduced to a slave labor force; they had to be exterminated.
ST: Absolutely. The intellectual historian Amos Morris-Reich traces this in his work: how the prewar arguments about assimilability that people hoped would help rescue Jewishness from antisemitism were quickly turned on their head. If racists and antisemites can claim that Jews are a people apart—incorrigibly unassimilable, fixed in those taxonomic ways that we’re familiar with from racist discourses—they can also say, “How sinister that this group can mix and meld and camouflage itself and become anything.” There is nothing intrinsically liberatory about the capacity for malleability.
BR: How did people associated with UNESCO think about the political horizon of global racial re-education?
ST: This is part of what became clear to me over the course of my research: They fundamentally understood their work as a contribution to healing Europe’s spiritual and moral damage and, in so doing, facilitating new kinds of relationships between the colony and the metropole. But decolonization was not their horizon. The Brazilian anthropologist Arthur Ramos, who was the first director of UNESCO’s Social Sciences Division and brought the authors of the statement together, advocated after the war for colonial indirect rule as a more humane form of colonial governance. Anti-colonial writers like Aimé Césaire were deeply skeptical about such claims: Without cultural and political self-determination these fantasies of repair are only fantasies. They’re just colonialism speaking a humanitarian language.
BR: This reminds me of your engagement with Our Sister Killjoy, the 1977 novel by Ghanaian writer Ama Ata Aidoo, in which you identify the postwar German culture of repair as a project of rehabilitating the German soul, rather than providing resources to Germany’s victims. Could you say more about how you understand postwar German culture with respect to UNESCO—as well as with respect to the politics of memory and memorialization more broadly?
ST: Our Sister Killjoy is about a young Ghanaian woman, Sissie, who is given the opportunity to travel to Germany. We’re told at the beginning of the book that this has something to do with the German people’s desire “to make good again”—a translation of “Wiedergutmachung,” the German policy of postwar reparation, understood both in the material sense of monetary payments, but also as a more amorphous moral and spiritual project of repair. This work included, in no small part, these now-famous educative memorial projects—as well as student exchange programs that UNESCO was very involved with—by way of which Germany could supposedly come to terms with its past. This is what the book brilliantly satirizes. Aidoo identifies the way that people in Sissie’s position are brought to Germany to allow Germans to redeem themselves—and she shows us the ways that that goes terribly wrong. The protagonist is fetishized, she meets people with appallingly crude understandings of race. Indeed, the whole encounter is underwritten by this assertion of cultural superiority: What could be better for a young Ghanaian woman than the opportunity to benefit from European culture?
I thought of Aidoo this year when I read the Namibian government’s statement in response to Germany’s decision to intervene on behalf of Israel at the International Court of Justice against the charges of genocide brought by South Africa. The Namibian government essentially says, Here is a country that has not sufficiently dealt with its own genocidal past now authorizing genocide in a different context. They have not learned from history—referring, of course, to Germany’s long-delayed and insufficient reckoning with the genocide in what is now known as Namibia. So, especially since October 7th—as Germany has doubled down on criminalizing solidarity with Palestine as Israel moves forward with its genocidal war—how do we think about the perception of Germany as having responsibly addressed its history?
BR: People love to quote Nelson Mandela: “Education is the most powerful weapon which you can use to change the world,” to invoke this idea that education is the key to everything. Not only does your book raise questions that I imagine will be troubling for a lot of people—Is anti-racist education really the way that we get ourselves out of these racist structures?—it also disrupts the persistent liberal idea that education is inherently a net good. In your reading of Our Sister Killjoy, you consider a kind of negative education: how the colonizer’s educative effort actually conscripts the colonized into a kind of race thinking rather than liberating them from it.
ST: When Sissie first arrives in Germany, she’s in the train station in Frankfurt and she hears a young child say to her mother, “das schwartze Mädchen” [sic], meaning, “the Black girl.” It’s a reference to the famous moment in Black Skin, White Masks, when Fanon recalls a French child saying to his mother: “Look! A Negro!”—an exclamation that forces Fanon back into his body, underscoring a sense of his visibility and his fixity. But in Aidoo’s book, something very different happens. Rather than turning Sissie back in on herself, the child’s utterance prompts Sissie to suddenly realize that everyone around her is white, and she is disgusted by their bodies. It’s a reversal of the Fanonian narrative: Instead of I became aware of my body as appalling to others, here we have, I became aware of other people’s differences as appalling to me.
But even as Aidoo’s text rejects the Fanonian experience of racial interpolation into the European hierarchy of racial value, there is also a grimmer dimension to the scene. This is the moment, Sissie later reflects, when she becomes attuned to racial difference—and she feels shame at her own reaction. If her journey to Europe is presented as the path toward becoming a more enlightened subject, then this induction into race thinking is her first big European enlightenment. To be a truly astute student, Aidoo is telling us, Sissie will have to become an autodidact; she’s going to have to learn a set of lessons other than the ones on offer.
BR: Where Aidoo’s text plays on the ways that superficially anti-racist engagement with nonwhite culture offers cover for white supremacy, it resonates with a critique we might make of contemporary liberal anti-racism. We have an entire industry of anti-racist publishing focused on modifying white psychology, with extremely popular books like How to Be an Antiracist that are more or less focused on remaking white souls.
ST: Look, I’m an academic. I believe that education has crucial work to do. But what we see coming out of the mid-century moment is an instructive indication of the limits of conceptualizing anti-racism as, at its heart, an educative project. The people involved in the UNESCO project were committed to coming up with an anti-racist framework that they could mobilize for pedagogical ends. But they couldn’t bring themselves to consider the political contradictions that made their work urgent—that some people like them wanted the imperial world to more or less persist but in a more palatable form, while others, such as the anti-colonial thinkers I examine, wanted a decolonization process that would result in a different kind of world order. Education alone cannot square that circle.
Education as we know it is structurally entrenched in projects that reiterate imperial world orders. What do we do, for example, when we have a commitment to Holocaust education—and yet some of the major institutions dedicated to Holocaust education enact a repressive silence about the genocidal violence in Palestine? They cannot adequately make links between the genocides of the past and the present in which we find ourselves. We have to resist official silences and repressive definitions by offering a fuller account of the genocidal history of colonial modernity.

Pittsburgh’s People of Year 2024 — Business: Khamil Bailey

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Photo courtesy of Khamil Bailey

Khamil Bailey, founder and executive director of the Greenwood Plan, has built her career around advancing entrepreneurship for minorities in Pittsburgh. As a community curator, she leads the nonprofit organization in its mission to advance economic justice for Black communities.

The Greenwood Plan’s current direction, Bailey says, is rooted in the vision she, along with founder and board president, Samantha Black, established upon its founding in 2021: removing the fear of failure in entrepreneurship while encouraging business growth. “We wanted to make it so that people were not afraid of entrepreneurship and felt like they could approach entrepreneurship with a spirit of exploration,” she tells Pittsburgh City Paper.

“We wanted to make sure that Black entrepreneurs had the ability and the encouragement to go into entrepreneurship and pursue it at the highest level that they chose.”

In 2024, the Greenwood Plan continued to make strides in pushing Pittsburgh’s Black business sector forward.

Bailey says owning the Pitt Building on Smithfield St. has created the biggest impact this year. “That would be the biggest accomplishment of 2024, actualizing what we have planned with owning the building and putting Black-owned businesses and organizations in that building in downtown Pittsburgh,” she says. 

The Pitt Building serves as a hub for Black-owned businesses and organizations, with two tenants already leasing space. 

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Photo courtesy of Khamil Bailey

For Bailey, her work affirms a belief she has held for years: that Pittsburgh’s Black business community is filled with talent, but faces systemic barriers. “I’ve always felt that Pittsburgh’s Black business community did not get a fair shake, and I feel like there were a lot of barriers placed in front of Black entrepreneurs,” she continues. “I always felt like Pittsburgh had talent in its Black communities. Through this work, I’ve just been affirmed in that thought.” Bailey says she has seen many talented entrepreneurs, innovative ideas, and remarkable creativity within the city.

Stepping into 2025, Bailey is focused on growth — not just for the Greenwood Plan but for the businesses it supports. One of her primary goals is to attract more Black-owned businesses to downtown Pittsburgh, increasing foot traffic and visibility for the entrepreneurs the Greenwood Plan serves. 

Internally, she is also prioritizing capacity-building within the organization by expanding their team. “In 2025, my goal is to bring on more staff to help build the capacity even more.” She continues, “It’s also to be a great leader for the staff that we have.”

Bailey’s passion for her work stems from a deep desire to see communities thrive. “With all the work that I do, the goal is to make sure that folks can take care of themselves and their neighbors,” she says. 

Do movies affect dreams: Let’s explore the psychology behind it

Movies and dreams are both forms of storytelling, one shaped by filmmakers and the other by your subconscious mind. Both can transport us to places we’ve never been, make us feel emotions we didn’t know we had, and leave us questioning reality.Have you ever watched a movie so intense, moving, or downright terrifying that it later creeps into your dreams? One moment you’re running errands in your subconscious, and the next, you’re being chased by the villain from the last movie you saw. It’s fascinating and slightly eerie how our minds can blend movies into the world of our dreams. But why does this happen? Let’s dive into the psychology behind how movies influence dreams and why our favourite (or most haunting) films often reappear when we least expect them.Movies are, at their core, immersive storytelling. From the eerie music that plays before a jump scare to the heartfelt dialogues that tug at your emotions, films are designed to capture your attention and make you feel. But your brain doesn’t switch off when you go to bed after that cinematic experience. It begins processing everything you’ve seen, heard and felt, and movies often get swept into this nightly mental cleaning process.According to research, dreams are often a reflection of our waking life, influenced by what we’ve recently experienced. Movies, especially highly emotional or visually striking ones, stimulate the part of our brain responsible for memory, emotion, and imagination. That’s why after a late-night horror binge, you might find yourself trapped in your very own thriller during REM sleep.READ ALSO: Building worlds that tell stories: This is how to be a set designerThe Emotional ConnectionMovies that evoke strong emotions like fear, sadness, or even joy are more likely to influence dreams. For example, a horror film might leave you feeling anxious, and your brain could replay similar scenarios in your dreams as it tries to make sense of that fear.Lucid Dreaming and Creative MindsHave you ever realised you were dreaming and decided to control the plot? This is called lucid dreaming, and people who frequently watch movies or engage in creative storytelling might be more prone to this phenomenon. The visual and narrative cues from movies prime your brain for storytelling, even in your sleep.The Tetris EffectPsychologists have observed something called the “Tetris Effect,” where repetitive visual stimuli influence what people dream about. For instance, if you binge-watch Squid Game, don’t be surprised if your dreams take on a survival-game twist. It’s your brain’s way of replaying what it has been exposed to.Not all movies have the same effect on your dreams. The genre you watch plays a significant role in shaping your nighttime adventures.Horror: Watching horror films like The Conjuring or Deliverance can lead to nightmares or stress-induced dreams. The suspense and jump scares activate your fight-or-flight response, which lingers in your subconscious.Romance: Romantic films like The Notebook or Crazy Rich Asians may lead to warm, emotionally charged dreams or even memories of loved ones.Sci-Fi and Fantasy: Films like Inception or Interstellar often inspire surreal, out-of-this-world dreams, as they stimulate your imagination and curiosity about alternate realities.Action/Thrillers: High-adrenaline films can translate to fast-paced, intense dreams. You might find yourself in car chases or solving puzzles in your sleep after watching movies like Mission Impossible.Why Do Some Movies Haunt Us More Than Others?Ever notice that some films seem to haunt your dreams for days while others fade away? That’s because certain movies leave a stronger psychological imprint. For instance, if a movie resonates with a personal fear, memory, or desire, your brain is more likely to replay it in your dreams. Similarly, films with ambiguous endings can leave your mind racing, trying to resolve unanswered questions, which can manifest as dreams.Can Movies Influence Your Mood Through Dreams?Absolutely. If you’ve ever woken up feeling uneasy after a nightmare or euphoric after a joyful dream, you’ve experienced the mood-altering power of dreams. Watching emotionally intense movies before bed can amplify this effect. A feel-good rom-com might give you cheerful dreams, while a dark psychological thriller might leave you feeling on edge.