The Harvard Brief

In the wake of the George Floyd killing, many Americans are engaging in a renewed debate about the role violence and especially police violence, plays in American society. In A Pattern of Violence: How the Law Classifies Crimes and What it Means for Justice (Harvard UP, 2020), David Alan Sklansky, the Stanley Morrison Professor of Law at Stanford Law School, argues that in order to think sensibly about criminal justice, we must consider how we think about violence and the criminal law’s role in shaping our perceptions.Sklansky argues that the criminal law’s definitions of violence have proven “slippery” and have been used in highly inconsistent ways. We talk about offenders as being characterologically violent, but contrastingly talk about the police, gun owners, or free speech activists in nonviolent terms. For example, police officers use “force” to subdue “vicious” criminals. Or they “stop and frisk” suspects instead of violently violating a person’s bodily integrity. While the police have increasingly militarized and have become more insular and reactionary, Sklansky argues that police institutions themselves have also played a role in creating many of the situations in which the police find themselves. Additionally, Sklansky significantly details how our conversations of violence regarding rape and domestic violence, the treatment of juvenile offenders, and free speech and gun rights, suffer from the same inconsistencies, especially as they tend to exaggerate and perpetuate race, gender, and class differences.Sklansky argues that the law has not always drawn consistent boundaries between violent and non-violent offenses. Burglary, while labeled a violent felony, requires no act of interpersonal violence. Assault or battery, on the other hand, are often misdemeanors, though they require physical violence.In addition to thinking inconsistently about violence, most Americans accept and even celebrate forms of societal violence. For example, American prisons, while not officially condoning violence, allow and sometimes encourage violence against prisoners as forms of discipline and retribution. As Sklansky argues, violence in these institutions is often treated as a form of entertainment, a “morbid parody of combat sports.”Sklansky prompts us to confront our overly simplistic definitions and assumptions about violence in the American law. He encourages us to take advantage of an increased awareness of violence and to work toward more just and consistent definitions.Samuel P. Newton is an Assistant Professor of Law at the University of Idaho College of Law.

Between the world wars, a generation of Jewish leftist poets reached out to other embattled peoples of the earth--Palestinian Arabs, African Americans, Spanish Republicans--in Yiddish verse. Songs in Dark Times examines the richly layered meanings of this project, grounded in Jewish collective trauma but embracing a global community of the oppressed.The long 1930s, Amelia M. Glaser proposes, gave rise to a genre of internationalist modernism in which tropes of national collective memory were rewritten as the shared experiences of many national groups. The utopian Jews of Songs in Dark Times: Yiddish Poetry of Struggle from Scottsboro to Palestine (Harvard UP, 2020) effectively globalized the pogroms in a bold and sometimes fraught literary move that asserted continuity with anti-Arab violence and black lynching. As communists and fellow travelers, the writers also sought to integrate particular experiences of suffering into a borderless narrative of class struggle. Glaser resurrects their poems from the pages of forgotten Yiddish communist periodicals, particularly the New York-based Morgn Frayhayt (Morning Freedom) and the Soviet literary journal Royte Velt (Red World). Alongside compelling analysis, Glaser includes her own translations of ten poems previously unavailable in English, including Malka Lee's "God's Black Lamb," Moyshe Nadir's "Closer," and Esther Shumiatsher's "At the Border of China."These poets dreamed of a moment when "we" could mean "we workers" rather than "we Jews." Songs in Dark Times takes on the beauty and difficulty of that dream, in the minds of Yiddish writers who sought to heal the world by translating pain.Amelia Glaser is Associate Professor of Russian and Comparative Literature at the University of California, San Diego, where she also directs the Russian, East European, and Eurasian Studies, and Jewish Studies, programs. 

Today I talked to Helen Sword about Air & Light & Time & Space: How Successful Academics Write (Harvard UP, 2017). We talk about what not enough people talk about when the subject is writing.interviewer : "You offer the advice of forming a writing group, because writing groups are, well, just all-around terrific for helping people write as they want to."Helen Sword : "Exactly, and well, so I try not to be didactic about just about anything having to do with writing––I'm much more about, 'Here's a range of possibilities. Make a considered decision here,' rather than, 'I'm going to tell you what to do.' But if I were to give one piece of advice concerning the social dimensions of writing, I would say, 'Really, really strongly consider belonging to some kind of writing group.' And I define a writing group as being two or more people who meet more than once to talk about any aspect of writing. So, if you have somebody you meet with for coffee once a month, one other person, and all you do is you sit there and complain about your supervisor and how you wish that they were more sympathetic to your writing––That's already a writing group. So, it doesn't have to be some big kind of formal thing. It's opening yourself up to the social dimensions of writing and particularly to the idea of having supporters in your corner, having some cheerleaders, having some people you can talk to about writing who are not there to criticize you––who are there to help you."Daniel Shea heads Scholarly Communication, the podcast about how knowledge gets known. Daniel is Director of the Writing Program at Heidelberg University, Germany. Daniel's YouTube Channel is called Write Your Research.

Stella Ghervas's Conquering Peace: From the Enlightenment to the European Union (Harvard University Press, 2021) is a bold new look at war and diplomacy in Europe that traces the idea of a unified continent in attempts since the eighteenth century to engineer lasting peace.Political peace in Europe has historically been elusive and ephemeral. Stella Ghervas shows that since the eighteenth century, European thinkers and leaders in pursuit of lasting peace fostered the idea of European unification.Bridging intellectual and political history, Ghervas draws on the work of philosophers from Abbé de Saint-Pierre, who wrote an early eighteenth-century plan for perpetual peace, to Rousseau and Kant, as well as statesmen such as Tsar Alexander I, Woodrow Wilson, Winston Churchill, Robert Schuman, and Mikhail Gorbachev. She locates five major conflicts since 1700 that spurred such visionaries to promote systems of peace in Europe: the War of the Spanish Succession, the Napoleonic Wars, World War I, World War II, and the Cold War. Each moment generated a "spirit" of peace among monarchs, diplomats, democratic leaders, and ordinary citizens. The engineers of peace progressively constructed mechanisms and institutions designed to prevent future wars.Arguing for continuities from the ideals of the Enlightenment, through the nineteenth-century Concert of Nations, to the institutions of the European Union and beyond, Conquering Peace illustrates how peace as a value shaped the idea of a unified Europe long before the EU came into being. Today the EU is widely criticized as an obstacle to sovereignty and for its democratic deficit. Seen in the long-range perspective of the history of peacemaking, however, this European society of states emerges as something else entirely: a step in the quest for a less violent world.Stella Ghervas is Professor of Russian History at Newcastle University (UK) and a Fellow of the Royal Historical Society. She is also an Associate of the History Department at Harvard University and Visiting Professor at Harvard Summer School since 2015. Her main interests are in intellectual and international history of modern Europe, with special reference to the history of peace and peace-making, and in Russia’s intellectual and maritime history.She is the author of Alexandre Stourdza (1791-1854): Un intellectuel orthodoxe face à l’Occident (1999), Réinventer la tradition: Alexandre Stourdza et l’Europe de la Sainte-Alliance (which won several book prizes, including the Guizot Prize from the Académie Française, 2008) and Conquering Peace: From the Enlightenment to the European Union (2021), and the editor of Penser l’Europe – Quarante ans d’études européennes à Genève (2003), Lieux d’Europe: Mythes et limites (2008) and A Cultural History of Peace in the Age of Enlightenment (Bloomsburg, with David Armitage, 2020).Her website is at https://www.ghervas.net/ and you can follow her on Twitter @StellaGhervasSteven Seegel, Professor of History, University of Northern ColoradoMaphead, Founding Board @H__Ukraine, Borderologist, Translator for the US Holocaust Memorial Museum, Podcast Host, Proud Slow Runner, Dog Valet

Welcome to New Books in African American Studies, a channel on the New Books Network. I am your host, Adam McNeil. On today’s podcast, I am interviewing Dr. Jarvis R. Givens, Assistant Professor at the Harvard Graduate School of Education and the Suzanne Young Murray Assistant Professor at the Radcliffe Institute for Advanced Study at Harvard University. Dr. Givens joins us to discuss Fugitive Pedagogy: Carter G. Woodson and the Art of Black Teaching, published by our friends at Harvard University Press in 2021. In our discussion we chopped it up about Carter G. Woodson, Black educational history, the origin story behind "fugitive pedagogy" as a term, his journey from grad school at Berkeley, to his post at Harvard, and much much more. Enjoy the conversation family!Adam McNeil is a third year Ph.D. in History student at Rutgers, the State University of New Jersey.

Ken Ruoff’s Japan’s Imperial House in the Postwar Era, 1945-2019 (Harvard UP, 2020), is a revised and expanded version of the author’s The People’s Emperor: Democracy and the Japanese Monarchy, 1945-1995 (2003). The book is an extensive and detailed treatment of the Japanese imperial institution as it enters a new era, Reiwa, with the abdication of the Heisei emperor (Akihito) in 2019. In addition to The People’s Emperor’s discussions of the creation of the postwar imperial institution as a “constitutional symbolic monarchy,” the continued (clandestine) role of Hirohito in politics, the postwar emperors’ approach to Japan’s war responsibility, the “massification” of the imperial family as a kind of model “middle-class” household for the postwar, and various forms of resistance from conservatives, Japan’s Imperial House adds two new chapters and an extensive and important addendum to one other. The two new chapters, respectively, provide a retrospective on the Heisei era (1989-2019) and an overview of the challenges facing the imperial line with Akihito’s son, Naruhito, now on the Chrysanthemum Throne as the Reiwa emperor. The addendum is to chapter 5, which discusses the ways in which anti-democratic and otherwise revanchist forces in postwar Japan coopted the playbook of democratic organizing to achieve (largely symbolic) victories. As we discuss in the interview, Ruoff returns to this topic because his analysis turned out to presage the tactics and successes of Nippon Kaigi, Japan’s most influential nongovernmental ultra-conservative lobbying group, during the Abe Shinzō regime.Terms and names perhaps unfamiliar to some listeners that get bandied about in our discussion include tennō (sovereign, emperor), Yoshida Shigeru (influential early postwar prime minister), Kobayashi Yoshinori (an often-controversial manga artist), and Yasukuni Shrine (which has enshrined prominent Class-A war criminals in addition to the general war dead since March 1978).Nathan Hopson is an associate professor of Japanese and East Asian history in the Graduate School of Humanities, Nagoya University.

Jürgen Melzer’s Wings for the Rising Sun: A Transnational History of Japanese Aviation (Harvard UP, 2020) traces the history of Japanese aviation from its origins with hot-air balloons in the 1870s until the end of the Pacific War in 1945. Melzer’s narrative centers around three themes: transnational technology transfer and Japan’s efforts to attain technological independence, domestic efforts to mobilize public enthusiasm for aviation development (what Melzer calls “air-mindedness”), and the complicated interplay of aviation with military and diplomatic history. The first chapters take us to the end of World War I, which was a turning point for Japanese aviation. Until that time, Japan had been most interested in French technologies, but the settlement of the Great War at Versailles provided an opportunity to take advantage of German aviation advancements. Parts 2 and 3 contrast the development of aviation in the Imperial Japanese Army and Navy, exposing crucial differences not only between the two services but within each one. Part 4 begins with Japan’s turn to American civil aviation technologies in the wake of the 1931 Manchurian Incident, and the subsequent impact of Japanese aggression and US retaliatory sanctions leading up to Pearl Harbor. The final chapter covers the fevered development of rocket- and jet-propelled aircraft during the war, and therefore in the context of resource shortages and a fast-ticking clock. Melzer, a former Lufthansa pilot, has written a book that will appeal to readers interested in STS, military history, international relations, and Western history, in addition to Japanese history aficionados.Nathan Hopson is an associate professor of Japanese and East Asian history in the Graduate School of Humanities, Nagoya University.

Oksana Kis’s Survival as Victory: Ukrainian Women in the Gulag (Harvard Series in Ukrainian Studies, Ukrainian Research Institute, Harvard University Press, 2021) fundamentally contributes to the Gulag studies through its essential intervention into the conventional framework of researching the Gulag as a system of measures to control the individuals and the collectives. The work draws readers' attention to the survival strategies of the individual who has to learn how to make sense of life again under the inhumane and dehumanizing conditions. Oksana Kis builds her research on diaries, memoirs, documents which were created by the Gulag detainees. Her main characters are Ukrainian women who were arrested and sent to the Gulag on the basis of accusation or suspicion of national engagements. A meticulously researched body of documents provides insight into the everyday life of the women who were forced to re-invent their lives, while trying to maintain some sense of normalcy. Can there be any normalcy in the Gulag? And what is “a normalcy” in the Gulag? With her book, Kis asks and pursues these questions and invites readers to subvert their horizon of expectations. There is some sort of normalcy in the Gulag, but one has to reinvent herself in order to create and accept it. In this regard, the book surpasses the boundaries of one national community: the discussion that it initiates invites readers to expand their understanding of the Gulag life. Survival as Victory: Ukrainian Women in the Gulag is a valuable addition to the scholarship on the USSR, post-Soviet studies, and Ukraine.Nataliya Shpylova-Saeed is a PhD student in the Department of Slavic and East European Languages and Cultures.

Telling stories: that sounds innocuous enough. But for the first chronicle in the Japanese vernacular, A Tale of Flowering Fortunes (Eiga monogatari), there was more to worry about than a good yarn. The health of the community was at stake. Flowering Tales: Women Exorcising History in Heian Japan (Harvard University Press, 2020) is the first extensive literary study of this historical tale, which covers about 150 years of births, deaths, and happenings in late Heian society, a golden age of court literature in women’s hands. Takeshi Watanabe contends that the blossoming of tales, marked by The Tale of Genji, inspired Eiga’s new affective history: an exorcism of embittered spirits whose stories needed to be retold to ensure peace.Tracing the narrative arcs of politically marginalized figures, Watanabe shows how Eiga’s female authors adapted the discourse and strategies of The Tale of Genji to rechannel wayward ghosts into the community through genealogies that relied not on blood but on literary resonances. These reverberations, highlighted through comparisons to contemporaneous accounts in courtiers’ journals, echo through shared details of funerary practices, political life, and characterization. Flowering Tales reanimates these eleventh-century voices to trouble conceptions of history: how it ought to be recounted, who got to record it, and why remembering mattered.Jingyi Li is a PhD Candidate in Japanese History at the University of Arizona. She researches about early modern Japan, literati, and commercial publishing.

Anecdote, Network, Gossip, Performance: Essays on the Shishuo xinyu (Harvard UP, 2021) is a study of the Shishuo xinyu, the most important anecdotal collection of medieval China—and arguably of the entire traditional era. In a set of interconnected essays, Jack W. Chen offers new readings of the Shishuo xinyu that draw upon social network analysis, performance studies, theories of ritual and mourning, and concepts of gossip and reputation to illuminate how the anecdotes of the collection imagine and represent a political and cultural elite. Whereas most accounts of the Shishuo have taken a historical approach, Chen argues that the work should be understood in literary terms.At its center, Anecdote, Network, Gossip, Performance is an extended meditation on the very nature of the anecdote form, both what the anecdote affords in terms of representing a social community and how it provides a space for the rehearsal of certain longstanding philosophical and cultural arguments. Although each of the chapters may be read separately as an essay in its own right, when taken together, they present a comprehensive account of the Shishuo in all of its literary complexity.Victoria Oana Lupașcu is an Assistant Professor of Comparative Literature and Asian Studies at University of Montréal. Her areas of interest include medical humanities, visual art, 20th and 21st Chinese, Brazilian and Romanian literature and Global South studies.