New Books in Literary Studies

How does emotion shape the landscape of public intellectual debate? In Sentimental Republic: Chinese Intellectuals and the Maoist Past (Harvard UP, 2025), Hang Tu proposes emotion as a new critical framework to approach a post-Mao cultural controversy. As it entered a period of market reform, China did not turn away from revolutionary sentiments. Rather, the post-Mao period experienced a surge of emotionally charged debates about red legacies, ranging from the anguished denunciations of Maoist violence to the elegiac remembrances of socialist egalitarianism.

Sentimental Republic chronicles forty years (1978–2018) of bitter cultural wars about the Maoist past. It analyzes how the four major intellectual clusters in contemporary China—liberals, the Left, cultural conservatives, and nationalists—debated Mao’s revolutionary legacies in light of the postsocialist transition. Should the Chinese condemn revolutionary violence and “bid farewell to socialism”? Or would a return to revolution foster alternative visions of China’s future path? Tu probes the nexus of literature, thought, and memory, bringing to light the dynamic moral sentiments and emotional excess at work in these post-Mao ideological contentions. By analyzing how rival intellectual camps stirred up melancholy, guilt, anger, and resentment, Tu argues that the polemics surrounding the country’s past cannot be properly understood without reading the emotional trajectories of the post-Mao intelligentsia.

Hang Tu is Assistant Professor of Chinese Studies at the National University of Singapore and Deputy Director of the CCKF–NUS Southeast Asia Center for Chinese Studies. A scholar of Chinese literature and thought, his research focuses on the cultural politics of emotion in modern and contemporary China. His work has appeared in Critical Inquiry, The Journal of Asian Studies, Modern Intellectual History, MCLC, and Prism.

Camellia (Linh) Pham is a PhD student in Comparative Literature at Harvard University. Her research focuses on modern Vietnamese literature, socialist realism, and literary translation across French, Vietnamese, Chinese, and English. She can be reached at [email protected].
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Baldwin: A Love Story (FSG, 2025) the first major biography of James Baldwin in three decades, reveals how profoundly the writer’s personal relationships shaped his life and work. Drawing on newly uncovered archival material and original research and interviews, this spellbinding book tells the overlapping stories of Baldwin’s most sustaining intimate and artistic relationships: with his mentor, the Black American painter Beauford Delaney; with his lover and muse, the Swiss painter Lucien Happersberger; and with his collaborators, the famed Turkish actor Engin Cezzar and the iconoclastic French artist Yoran Cazac, whose long-overlooked significance as Baldwin’s last great love is explored in these pages for the first time.
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Soviet Samizdat: Imagining a New Society (Cornell UP, 2022) traces the emergence and development of samizdat, a significant and distinctive phenomenon of the late Soviet era that provided an uncensored system for making and sharing texts. In bringing together research into the underground journals, bulletins, art folios, and other periodicals produced in the Soviet Union from the mid-1950s to the mid-1980s, Ann Komaromi reveals how samizdat helped to foster new forms of imagined community among Soviet citizens. Komaromi’s approach combines literary analysis, historical research, and sociological theory to show that samizdat was not simply a tool of opposition to a defunct regime, but a platform for developing informal communities of knowledge. In this way, samizdat foreshadowed the various ways in which alternative perspectives are expressed to challenge the authority of institutions around the world today.
Ann Komaromi is a Professor within the Department of Slavic Languages and Literatures and Acting Director of the Centre for Comparative Literature at the University of Toronto. Her interests include alternative publishing, underground networks and nonconformist literature and art, especially in the Soviet Union after Stalin.
Iva Glisic is a historian and art historian specialising in modern Russia and the Balkans.
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In Black Shakespeare: Reading and Misreading Race (Cambridge University Press, 2022), Ian Smith urges readers of Othello, The Merchant of Venice, and Hamlet to develop “racial literacy.” Through both wide social influences and specific professional pressures, Shakespearean critics have been taught to ignore, suppress, and explain away the racial thinking of the plays, a set of evasion strategies that inevitably have political and social ramifications in the contemporary United States. As Ian writes in the introduction, Black Shakespeare is intended to “shift the focus to conditions that shape readers, inform their epistemologies, and influence their reading practices” (3).
Today’s guest is Ian Smith, Professor of English at the University of Southern California. Ian is the author of the previous monograph, Race and Rhetoric in the Renaissance: Barbarian Errors (Palgrave, 2009), as well as one of the most important articles in early modern literary criticism of the last twenty years, “Othello’s Black Handkerchief.” Ian is the current President of the Shakespeare Association of America.
John Yargo is a Visiting Assistant Professor of Environmental Humanities at Boston College. He holds a Ph.D. in English from the University of Massachusetts Amherst. His specializations are early modern literature, the environmental humanities, and critical race studies. His dissertation explores early modern representations of environmental catastrophe, including William Shakespeare's The Tempest, Aphra Behn's Oroonoko, and John Milton's Paradise Lost. He has published in Early Theatre, Studies in Philology, The Journal for Early Modern Cultural Studies, and Shakespeare Studies.
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Inspired by Richard Wagner’s idea of the total artwork, European modernist artists began to pursue multimedia projects that mixed colors, sounds, and shapes. Dr. Polina Dimova’s At the Crossroads of the Senses: The Synaesthetic Metaphor Across the Arts in European Modernism (Penn State UP, 2024) traces this new sensory experience of synaesthesia—the physiological or figurative blending of senses—as a modernist phenomenon from its scientific description in the late nineteenth century to its prevalence in the early twentieth.

Structured around twenty theses on synaesthesia, this book explores the integral relationship between modernist art, science, and technology, tracing not only how modernist artists perceptually internalized and absorbed technology and its effects but also how they appropriated it to achieve their own aesthetic, metaphysical, and social goals. Through case studies of prominent multimodal artists—Oscar Wilde, Aubrey Beardsley, Richard Strauss, Aleksandr Scriabin, Wassily Kandinsky, František Kupka, Andrei Bely, and Rainer Maria Rilke—At the Crossroads of the Senses reveals the color-forms and color-sounds that, for these artists, laid the foundations of the world and served as the catalyst for the flourishing exchanges among the arts at the fin de siècle.

Rooted in archival research in Russia, Germany, France, and the Czech Republic, At the Crossroads of the Senses taps overlooked scientific sources to offer a fresh perspective on European modernism. Sensory studies scholars, literary critics, and art and music historians alike will welcome its many contributions, not least among them a refreshing advocacy for a kind of sensuous reading practice.

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