At the same time that the burkini bans were spreading and raising hackles around the world, Canada and Scotland also passed laws to allow Muslim female police officers to don hijabs as part of their official uniforms. How do we explain the difference between France on the one hand and Canada and Scotland on the other?
The “9/11 generation” has come of age in the era of an entrenched binary of the “good” (moderate, patriotic, law-abiding) versus “bad” (radical, militant, anti-American) Muslim. Yet this script is flipped by youth who are challenging the policing of black and brown youth and policies of surveillance, incarceration, and counterterrorism and engaging in cross-racial solidarity.
—Andrew M. Schocket
What’s especially noteworthy about Hamilton’s recent posthumous pop-culture stardom is that it was launched by a dozen-year-old biography that is once again on the best-seller lists: Ron Chernow’s Alexander Hamilton (2004). How should we think about Chernow’s massive account—currently again one of the top-selling history books in the nation—not only as a biography and work of history, but also at the epicenter of this new Hamilton-mania?
So much of the way I think about tragedy as a genre and political category comes from the work of Raymond Williams’s Modern Tragedy, in which the critic labors to show how flawed the elitist linguistic divide separating tragedy as a high art (the tragedy of Comparative Literature, English, and Classics curriculums) versus tragedy’s everyday use as signifying a grave event, a calamitous lost.