HL90 EJ: Espionage: A Cultural History

We’ve got more HL90s to shop! No secrets here, but Duncan White told us more about his new class on espionage!

What inspired you to teach this class?

When I was growing up in Brussels the parents of one of my classmates were revealed to have been spies for East Germany. It was strange to look back on seeing them at school pickup or cheering on the sidelines at sports events and to think of them living this double life. I have been interested in espionage ever since but it was not until I started writing a book about Cold War writers a few years ago that I started to really think about how pervasive spy stories are in our culture, and just how entangled those stories are with real life espionage.

What is a text you’re excited to share with students?

I’m particularly excited to introduce students to the work of John le Carré, if they have not read him before. He recently passed away and I think he is one of the great novelists of the last 50 years. There are few more assiduous chroniclers of the cynicism of the Cold War, and of Britain in sharp imperial decline for that matter.

What does your class help us understand about the present?

Espionage is everywhere. Over the last few years I have been addicted to tv spy dramas: The Americans, The Night Manager and especially the brilliant French show The Bureau. At the same time the news was full of real spying drama, from the Steele dossier to the attempted assassination of Russian double agent Sergei Skripal in the sleepy English town of Salisbury. As I was finalizing the course the story broke of a massive cyberattack on the US, the full scale of which has not yet been revealed. All of which raises many questions: what is the relationship between real life espionage and the spy stories we consume for pleasure? Why are we so fascinated by the idea of a secret world? Are spy stories just escapist entertainment? Or do they tell us something more interesting about the societies which produced them?

What’s something surprising students might not know about this topic?

While working at MI6, Graham Greene, whose novel The Quiet American we will read for the course, has as his boss Kim Philby, who was later revealed to be a Soviet spy. The story of Philby’s betrayal then became the basis for Le Carré’s Tinker, Tailor, Soldier, Spy, another novel we will read as part of the course.

Are you doing any cool projects or assignments?

For the final assignment students will be able to write about their own favorite spy novel or movie. We will be thinking about how these spy stories relate to the ones in class and to the specific historical contexts in which they were created and consumed.

How should students contact you to find out more?

If you are interested please check out the Canvas site here, or drop me an email.

HL90 AN: God Save the Queen! Ruling Women from Rome to the Renaissance

Shopping starts this week! We’ve got lots of great HL90s to check out this spring. Sean Gilsdorf told us more about his class, “God Save the Queen! Ruling Women from Rome to the Renaissance”!

Tell us about your class!

Like the title suggests, this is a class about women who wielded power many centuries ago, and the complicated ways that their gender complicated but sometimes also enabled their exercise of authority. Over the course of the semester, we travel through more than a millennium of European and Mediterranean history meeting fascinating women—historical ones like the Byzantine empress Theodora and the German queen Mathilda as well as fictional ones like Guinevere and Nestan-Darejan.

What’s something surprising students might not know about this topic?

The degree of freedom and authority that medieval women could exercise, provided that they were rich and well-connected enough. It’s very true that queens almost always were less powerful than kings, particularly if they were married to the latter. Then again, since everyone was less powerful than the king, it’s helpful to compare our queens to everyone else—and when we do, we discover how much sway they could have.

Do you have any activities or assignments you’re excited to share with students?

In addition to reading a ton of fascinating texts, the students will be working throughout the semester with medieval material culture—manuscripts as well as other objects owned by queens, used by them, or dedicated to them. While our current circumstances mean that this work will have to be virtual, I’m still excited to see how the students connect this “thread” of the class to the reading and discussions in our regular meetings.

What does your class help us understand about the present?

The feminist movements of the nineteenth, twentieth, and twenty-first centuries all have critiqued, and sought to remedy, the persistent tendency to identify “power” and “the political” as essentially masculine domains. “God Save the Queen” helps us to understand the roots of these sexist assumptions, but just as importantly it also reveals how flawed and historically inaccurate they are!

Can you give us a sneak preview of anything you’ll be doing?

On the first day of class, we’ll be talking about this…

For more information on the class, you can see the syllabus on Canvas or stop by an informal meet and greet on Tuesday, January 19th (link on Canvas).

HL90 EM: Empire and Archive in the Colonial Americas

Shopping week is around the corner! Have you got your list of HL90s to shop? Alan Niles shared more about his class, “Empire and Archive in the Colonial Americas”:

Tell us about your class!

This class will engage with a simple question: what do we do with a written archive of colonialism that is weighted toward the perspectives of colonists? What are some of the ways we can counter this imbalance and open up a greater diversity of perspectives on the past? What are the limits of that effort? We will enter some of the fascinating discussions that are taking place around these issues right now in different fields of study—across and between the history of Atlantic slavery, Ethnohistory, American Studies, Native American and Indigenous Studies, and other fields. One of the goals of this class is to open up the category of what we count as a text or source—as we’ll discover, there are all kinds of ways of “writing” or recording history that don’t rely on paper and ink. (A belt of wampum might record a historical treaty more accurately than a document that was written down with pen and paper!) Thinking about what we count as a source can also challenge us to think about what we hope to get out of the past, or the ways that our present desires are entangled with past histories. My hope is that activities and assignments based around navigating digital archives, analyzing visual materials, and close reading both “along” and “against the grain” of historical sources will lead us into thinking about these kinds of big questions.

What’s something you’re excited to share with students?

In Week 6 we’re going to talk about the archive of graffiti from colonial churches in Mexico that Alessandra Russo has recovered. These doodles and inscriptions by Indigenous, mestizo, and Spanish people aren’t the kinds of sources that scholars usually focus on, but as Russo shows us, they tell us a great deal about the lived experience of colonialism—which is to say the kinds of attitudes and desires that find expression in everyday life. Some of these graffiti are (I think) even funny, though we’ll talk about how they can thwart what we want to see in them. At any rate, I think they’ll help us think differently about the history of power and graphic practice.

What’s something surprising students might not know about this topic?

Colonial relationships were messy, and European, African, and Indigenous peoples interacted in ways that could lead to conflict but also to surprising interdependencies and exchanges. Some of these encounters can be unintuitive to us: the earliest performance of Hamlet we know about was for an audience of Portuguese-speaking West Africans, for example. Our class’s focus on sources and archives will let us talk about the ways we’re able to see different, sometimes unexpected configurations of power, authority, and inequality in the past, as well as the ways they can be obscured or recovered over time.

What kind of archives will you be using?

Teaching this class in an online format is going to be interesting, because our course is centrally concerned with questions of the visibility and accessibility of sources from the past. Our assignments are designed around exploring digital collections of materials that are available for use online, like the Early English Books Online database, The Vodou Archive, Harvard Libraries’ Colonial North America project, and the Peabody Museum’s digital collections. Through group discussion board posts and individual activities, we’ll talk about the decisions institutions are making about what kinds of materials are becoming digitally available (or not), the funding limitations that libraries and other institutions face, and all the other risks as well as advantages of online research. We’ll also learn a lot about how to find interesting sources!

What does your class help us understand about the present? 

Our whole class is about the legacies of colonialism, but the last unit, “Memory, Violence, and Repair” focuses most directly on the present. We’ll engage with the ways that scholars, artists, and activists are working creatively with questions of repair and recovery: for example, what kind of politics and what new literary form emerge from a text like Saidiya Hartman’s Lose Your Mother, in its attempt to grapple with silences in the archive of slavery that cannot be overcome? I’m hoping these conversations can be a space for exploring the variety of different ways that academic research, political activism, and creative forms like autobiography and speculative fiction can channel our complex and varied desires facing the past.

For more information, you can see the syllabus on Canvas, drop by during shopping period (Wednesday, August 19, 12-2:45), or email Alan!

HL90 ED: Music and Resistance in the Modern United States

We’ve got more great HL90 seminars to check out! Lucy Caplan is teaching “Music and Resistance in the Modern United States” this fall, and talked to us about the Queen of Soul and explained critical karaoke to us!

What made you want to teach this class?

In one of my all-time favorite novels, Ralph Ellison’s Invisible Man, a character overhears a blues record while wandering through Harlem and wonders: “Was this the only true history of the times?” The idea at the heart of that question – that music can tell us something unique about the past and the present – is what inspired me to teach this class. More specifically, I’m inspired by the idea that music can help us understand something fundamental about histories of dissent and resistance in the United States, and especially about the history of Black freedom struggles throughout the twentieth and twenty-first centuries. In our current moment of peril and possibility, I’m especially excited to consider not only how music works as a form of protest against present challenges, but also how it helps us imagine a better, more just future.  

What is one thing you’re excited to share with students this semester?  

It’s hard to choose just one! But if I had to, I think it would be Aretha Franklin’s iconic 2015 performance of “(You Make Me Feel Like) A Natural Woman” at the Kennedy Center Honors. First of all, it’s just awesome: the fur coat, the dress, the piano, the voice! It’s also an amazing encapsulation of how deeply history and culture can resonate through a five-minute video clip. We might think about the song’s relationship to second-wave feminism and Black Power; about what it means that Barack and Michelle Obama are swaying along in the audience; about how the details of the lyrics speak to the complicated progress of the civil rights movement. I can’t wait to analyze this performance with students and see what insights we can come up with collectively.  

What is an assignment that you’re excited about? 

I’m really excited about the Critical Karaoke assignment. Critical Karaoke is a form of analysis in which the speaker analyzes a song while that song plays in the background – meaning that your academic analysis of the song is exactly as long as the song itself. (You can totally sing if you want to, but you don’t have to!) It’s a really fun and creative way to add your own voice – literally – to the conversation about a cultural text. I also think that this particular assignment might work even better in an online format than it does in-person, so I’m looking forward to seeing how students get creative with the technologies available to them.  

What music have you been listening to while working remotely?  

I don’t know if this even really qualifies as “music”…but I (and my cat Dona, who you will certainly meet this semester!) have watched this about a zillion times.  

Fore more information, see the syllabus on Canvas, or email Lucy to set up an appointment!

First-Year Seminar: Asian American Literature

Hist & Lit tutors are offering first-year seminars this fall! Catherine Nguyen is teaching one on “Asian American Literature,” and talked with us about the class, her advice for first-year students, and some of her other favorite books! To apply for a seminar, visit here!

What made you want to teach this seminar?

I’m so excited to teach this first-year seminar on Asian American literature! During my dissertation writing years, I was so focused on Vietnamese American and diasporic literature that I didn’t have time to read all the other Asian American literature coming out then. When I finally finished the PhD and got to Harvard, the first Asian American works I picked up to read were Min Jin Lee’s novels Free Food for Millionaires and Pachinko. It was thrilling and refreshing to read about Lee’s beautiful prose so much so it got me really excited to teach a Asian American literature class where we can linger on the beautiful storytelling of different Asian American experiences. Unfortunately, Pachinko is way too long for a first-year seminar, but I hope that the readings I chose will speak to students in the way Lee’s writings and other Asian American writing has spoken to me. 

What’s something you’re looking forward to sharing with students in class?

I am so excited to provide students with the opportunity to engage with Asian American artists and activists Rachel Kuo, PhD, Trinh Mai, and Shing Yin Khor. I got the Elson Family Arts Initiative Fund to Support Integration of the Arts into the Curriculum to fund the workshops as well as provide students with a plethora of art supplies. Even though the art workshops will be virtual, I hope that having supplies on hand and being able to interact with the artists and activists that students will have a fun, creative time. I also hope that students will be inspired to take up the opportunity and choose to complete a creative final project.

What advice do you have for a first year student? 

Have fun and challenge yourself! The first-year seminars are graded satisfactory/unsatisfactory, and I would encourage first years to take a class they might not have taken otherwise or have no idea about the seminar topic. It’s a great opportunity to really engage with the instructors and other fellow first years to create a really memorable first-year experience. 

Besides Asian American literature, what else do you like to read?

For bedtime/turn-off-the-brain reading, I often turn to Nordic mysteries because they’re thrilling and reliable (sometimes too much!). I am a big fan of the Brontë sisters, Thomas Hardy, and I also read a lot of graphic novels and was fortunate to offer an HL90 on Asian American comics and graphic novels last year. 

For more information, you can see the syllabus on Canvas or email Catherine!

HL90 EF: White Rage: Progress and Backlash in American History

We’ve still got more HL90s to share with you! Andrew Pope is teaching “White Rage: Progress and Backlash in American History” this fall, and talked with us about the importance of understanding history for our present moment. (He also talked to us about cats. And Cats.)

What inspired you to teach this class?

The night Americans elected Donald Trump as president, my colleague Safia Aidid and I exchanged messages on Twitter about how his election was both unexpected but also completely predictable given American history. I commented that his election helped vindicate historian Carol Anderson’s argument that white rage is the animating element of American history from slavery to the present. Safia encouraged me to teach a course about it. The next day, I sketched out what a syllabus might look like for such a course. I’m thrilled to have the chance to finally teach it this semester. Unfortunately, the argument remains as relevant as ever.

What is one text you’re excited to share with students this semester?

Just one? Suzan-Lori Parks’ play Father Comes Home might be it. If you have five minutes—not enough time to read one of her plays but still want to read something brilliant—her commencement address at Mount Holyoke is a gem. Kathleen Belew’s Bring the War Home: The White Power Movement and Paramilitary America is the best history book I’ve read in the past year. I’m eager to see how students compare the modern white power movement to what is often considered more mainstream instances of white rage that we study.

What can your class help us understand about the present?

The expressions of rage that politicians like Donald Trump embody and promote are not the only ways that we live with white rage today. Rage is expressed through the avenues of power people have available to them. Rage is not just an explosive moment of public anger. Throughout the course, we’ll examine the different ways white rage has shaped our institutions, our interactions, and what we consider to be “normal.” The goal is to have a more expansive understanding of what it means to dismantle white rage and its legacies than merely electing a different president.

On a totally different note, what is the best or worst thing you’ve watched since Harvard sent everybody home and we started social distancing?

Cats, the movie. My expectations were so low. I knew so many people hated it. But I love cats (the animals! I have three—folks in the class will likely meet all of them at various points each week). And I thought, just maybe, with low enough expectations and a pure enough love of cats that I might actually enjoy the movie. Nope. It was that bad. But also somehow not bad enough to be enjoyable.

For more information, you can see the syllabus on Canvas or email Andrew!

First-Year Seminar: The American West: History & Myth

Applying to a first-year seminar? Hist & Lit lecturers are offering some great ones! We talked to Chris Clements about his class, “The American West: History & Myth,” the Oregon Trail, and his cowboy fashion of choice.

What inspired you to teach this class?

I have a lot of experience teaching courses on Native American history and Indigenous Studies. I’m also a US historian in a much broader sense. The West, as both a real place and a set of ideas, is everywhere in these fields! When I was offered a chance to teach a First Year Seminar, I figured it would be a great opportunity to think in big ways about the relationship between US and Indigenous histories in this country. And, it’d give me an opportunity to think through a classic American Studies question: What is America? The American West, I think, makes up a significant portion of the answer. It’s a concept that’s never been fixed. As a geographic region, the West once meant anything west of the Appalachian Mountains. At another time, it meant anything west of the Mississippi River. That being said, to this day, the country’s longest running, weekly rodeo takes place in…New Jersey. What’s up with that? The West is simultaneously a material place and a cultural blank canvas, occupied territory and Indigenous homelands, a land of opportunity and a land that has seen brutal conflicts over basic resources like water. How can this be? We probably won’t find a neat answer to that question in the class, but I hope we’ll all walk away with a better understanding of how and why the West has come to feel so quintessentially American.

What’s something you’re excited to share with students?

I am most excited to play the original Oregon Trail computer game collectively as a class. Will we survive the journey? Only time will tell. Should we ford the river? We’ll cross that bridge when we get there. Will we learn to think in exciting and inventive ways about how a computer game can be a critical text worthy of academic study? You betcha.

What’s something surprising students might not know about this topic?

We’ll spend a considerable chunk of time thinking about the genre of “The Western,” which, I think, people usually associate with a certain kind of cinematic tradition. But, what do we make of the 1968 Star Trek (The Original Series) episode that imagines a wild west on another planet? Or, Lil Nas X, who teamed up with a country icon to produce a genre mash-up that clearly spoke to the masses? What I think students might find surprising about these texts is that they reveal the West to be everywhere in popular culture, even where we might least expect to find it.

What can your class help us better understand about the present?

Perhaps more than any other big idea in American history, the West has been a site for perpetual mythmaking. In an era of extraordinarily visible forms of political struggle and battles over how we interpret history, the present, and the future, I think studying the West will help us to understand the subtle ways that individuals can adopt myths or engage in mythmaking to accumulate social and political power. Do you want to know more about state violence, about race and racialization, about gender norms, about America’s fascination with individualism and suspicion toward communalism? All roads lead quite quickly to some aspect of the historical and mythical West.

What advice do you have for a first-year student?

Be confident! Be vulnerable! The best way to learn is to accept that there are many things you (and every single one of your classmates) simply don’t know. The sooner you can embrace and own that learning is an ongoing process, the sooner you can free yourself from the impossible burden of trying to know everything. In other words, don’t be afraid to ask questions, to boldly express your confusion, and to see your fellow students as collaborators and allies in class.

If you had to teach in a cowboy hat or cowboy boots all semester, which would you choose?

Bejeweled cowboy boots. Obviously.

For more information, you can email Chris, and apply here.

HL90 EP: A Global History of Pests

More HL90s! While we normally run the other way from rats, mosquitoes, and cockroaches, Sam Dolbee has us reconsidering with his class, “A Global History of Pests” (at least when it comes to learning about them!).

So we’ve got to know. What made you want to teach a class about pests?

When I lived in New York and spent a lot of time waiting at subway stations, I could never stop myself from watching the rats crawling along the tracks…even though I’m terrified of rats! I’m generally spared from this dilemma now, though not always (i.e., have you ever looked closely at the planters in Porter Square?). So that strange mix of fear, intimacy, and infrastructural connection is one reason I find thinking about pests compelling. And another is the richness of what pests can tell us about the world. Part of what’s disconcerting about them is how they repurpose the human world in unexpected ways, with impacts both mundane and momentous. Pests can reflect economic organization, and they often amplify structural inequality and racism (as do the sometimes carcinogenic pesticides aimed at them). Pests also operate as a powerful symbol, used both to protest these dynamics and, sometimes, to denigrate others. In the process, they bring together histories of capitalism, environmental history, history of medicine, and history of science in compelling ways. And just like my experience on the subway platform, once you start seeing them, it’s hard not to keep looking for their traces. Whether DDT in Fanon or vampiric figures in Marx, you notice the resonance of pesticides and pests almost everywhere.

Tell us something weird about pests!

You can fight pests and also be fashionable, at least according to this community clean-up flier from Milwaukee (circa 1970) featuring a bell-bottomed figure pitching in to make the neighborhood less hospitable to rodents.

Do you have any assignments you’re excited about?

One assignment I’m excited about is for students to look for evidence of pests or pesticides in their daily lives, and write about them in relation to the broader structural perspectives brought up in class. Here, for example, is a photo I took while on a research trip in Paris of a pesticide-selling store whose distinctive design stood out quite conspicuously from surrounding staid apartment buildings. The shop sold various means of killing pigeons, rats, mice, cockroaches, slugs, and, yes, snails (escargots), as well as repellents for dogs, cats, moles, weasels, and wild boars. The range of creatures targeted opens up questions about how cities or other human infrastructures create spaces for other life forms to flourish outside of human control. Meanwhile the products being marketed to kill the pests or keep them away invite questions about what impact these substances might have on humans.   

What can the class help students understand about the present?

This is not a class about the pandemic, but it does address a number of historical themes connected to it, including questions like: How do small, sometimes unseen forces shape people’s lives? How do new scientific understandings shape the definition and management of threats? And how does all of this get refracted through social inequality and difference?

For more information, you can check out the course’s Canvas site, where there is a copy of the syllabus and readings, as well as a link for a Zoom information session on the course set to meet on August 19 at 6pm. You can also email Sam with any questions.

HL90 EN: Latin American Revolutions

We’ve got more HL90s to shop! James Mestaz is teaching “Latin American Revolutions” this fall, and talked to us about how his experiences growing up influenced his class, the importance of understanding Latin American history in today’s political environment, and the best Latin American cuisine (don’t read on an empty stomach!)!

What inspired you to teach this class?

Understanding my unique experiences growing up as a Mexican-American in a small town in California compelled me to find out more about Mexico, and Latin America in general. When I got to college, I realized that a history existed beyond the narratives of rich White men I had learned about in High School. I became obsessed with all things related to Latin American history and how our society continues to be shaped by developments there. I was particularly drawn to twentieth century revolutions, when a vast array of disgruntled people rose up to decide the future of their nations. It reminded me how, when I was a child, my Grandmother used to tell stories about Pancho Villa and his elite soldiers riding through her town in Mexico, an army of African-American soldiers soon following in hot pursuit. In college I heard several friends relate the heart-breaking details and inspirational lessons of growing up in Nicaragua during that country’s Revolution. After college I had the pleasure of visiting Cuba, speaking with community leaders, and even hearing Fidel Castro give a three-hour long speech. Each of these stories and personal experiences seemed to refute many of the official histories I had learned about. This is when I noticed that only critical analysis of both primary and secondary sources can help us truly understand the complexities of armed revolution and the vital role that Latin America has played in world history, but just as important, to comprehend our own notions of freedom, democracy, grassroots organizing, and gender/ethnic differences in US society.

What kind of sources will you be working with in class?

Latin American History is a treasure chest filled with compelling sources. The Mexican Revolution was the first major conflict in the Western hemisphere to be photographed extensively. Students will have the opportunity to critically interrogate the importance of iconic images from this revolution, such as photographs of the only meeting between the infamous revolutionaries Pancho Villa and Emiliano Zapata. Che Guevara is the most well-known revolutionary in the world. By conducting a deep dive into his speeches (to the United Nations) and written manifestos (such as “Socialism and Man”) students will grasp his vision for de-colonizing the mind and liberating developing countries. Knowing the power of propaganda, leaders of the Nicaraguan Revolution wrote some of the most compelling speeches in recent history. We will analyze the positive impact of these speeches in gaining societal support from such sectors as women, but also their limitations as opposition mounted from marginalized groups including indigenous people. In addition, novels, movies, short stories, poems, films, song lyrics, and paintings will help students grasp the immense power the ideas that came out of these revolutions still hold globally today.

What does your class help us understand about the present?

We find ourselves in a moment in history when great change is on the horizon. All three of the Latin American Revolutions we will learn about this semester have provided key lessons that political activists today have learned from. Black Lives Matter, Native American Water Protectors, and all grassroots activists around the world have gathered inspiration and knowledge, in some form or another, from these revolutions. All nations in turmoil must understand the difficulties of first toppling oppressive regimes, and then creating systems that truly represent the needs of all sectors of society. As we can learn from Mexico, Cuba, and Nicaragua, violent upheaval was not necessarily the best answer to improving society, which is why this course also thoroughly interrogates the advantages of political and communal mobilization. Only by understanding historical patterns of massive change in other nations of the Americas can we fully grasp what the future may hold in this country.

What is truly the best Latin American cuisine?

I am personally biased towards Mexican food, not only due to the fact that I grew up with it and continue to prepare it myself, but because of its diversity. Tacos, tortas, tamales, carne asada, mariscos, carnitas, and enchiladas are particularly delicious. Of course, it’s difficult to ignore South American flavors, Peru (ceviche) and Chile (seabass) have the best seafood, and Brazilians and Argentinians prepare incredible steaks. And don’t let me forget about island cuisine, not a day goes by when I don’t crave Dominican sancocho or Puerto Rican mofongo. I got hungry just writing this, and happy to talk about food any time!

To learn more, you can see the syllabus on Canvas, drop by during shopping period (Monday August 17 and Wednesday, August 19 4:30-5:45), or email James to set up an appointment!

HL90 EQ: Nuclear Imperialisms

Looking for more HL90s? Rebecca Hogue chatted with us about the history and culture of nuclearism and settled the Godzilla vs. Mothra question!

Tell us about your class! What do you think its relevance to the present is?

These days, when nuclear issues are in the news, we think of “nuclear codes,” threats of pressing the “nuclear button” while world leaders simultaneously try to avoid total annihilation. But what if, for many people around the world, the apocalypse has already happened, and its effects are ongoing? My class will think about nuclearism–from mushroom clouds to nuclear waste–as another form of imperialism, but will focus on how brave and creative people around the world have rallied together, and are continuing to rally, for awareness and justice. 

What texts are you looking forward to sharing with students?

I’m very excited to watch well known films and TV series like Godzilla and Star Trek: The Original Series alongside Indigenous activist writing from Micronesia or Aboriginal poetry from Australia. Nuclear issues, as we will explore, take many aesthetic forms, both familiar and unfamiliar, and sometimes genre-bending. One of my favorite pieces we will watch/read is Marshallese poet-activist Kathy Jetnil-Kijiner’s and Taiwanese videographer Dan Lin’s video-poem “Anointed” from 2018. They mix archival footage, spoken word poetry, and drone videography to tell the story of ecological harm and resilience in the Marshall Islands’ nuclear legacy.

What’s something we might not know about this subject?

This August, the US will commemorate the 75th anniversary of the detonation of atomic weapons at Hiroshima and Nagasaki. Often times, those are the only use of nuclear weapons people will have heard of, and not, for example, the over 300 hundred weapons detonated in the Pacific Islands alone. Over a period of fifty years! In response to this problem, Maori activist Titewai Harawira asked in an anti-nuclear campaign speech, “why haven’t you known?” Exploring why and how the public is under-informed about these histories will be one of the goals of our class. Maybe it’s classified? Maybe it’s propaganda.

You mentioned Godzilla, so we have to ask: Godzilla or Mothra?

Definitely Godzilla! But I also want to put in a plug for another kaiju film character: Jet Jaguar. He’s friends with Godzilla, helpful to humans, and is always smiling! And he flies!

To learn more, you can see the syllabus on Canvas, attend a drop-in session on Tuesday, August 18 at 1pm, or email Rebecca! Nuclear Imperialisms meets Tuesday/Thursday 6-7:15 this fall.