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"Powerful, funny at times, and consistently inspiring, Our Laundry, Our Town turns one artist’s journey into the story of AAPI communities and emergence of a movement over the past half-century. Alvin Eng’s engaging memoir looks back on the past to envision a better future."DAVID HENRY HWANG, screenwriter and Tony Award–winning playwright of M. Butterfly

Virtual & In-Person Book Launch | May 20, 2022

Part I | 5:30 p.m. - 7 p.m. (EST)

Virtual Book Launch - Register Here

AAARI/CUNY’s online Friday Lecture Series

Asian American/Asian Research Institute, City University of New York

Reading will be followed by a conversation with CUNY/AAARI Program Coordinator & Friday Lecture Series host, Antony Wong

Part II | 7 pm - 9 pm (EST)

In-Person Book Launch


56 East 1st Street

East Village, NYC

Reading will be followed by a conversation with City Lore co-directors Molly Garfinkel and Steve Zeitlin

Instagram Book Tour

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Form and Feeling features a collection of essays by noted scholars exploring the sensorial, experience-based, and participatory practices pioneered in the 1950s by artists and poets such as Flávio de Carvalho, Ivan Serpa, Hélio Oiticica, Haroldo de Campos, Mary Vieira, Lygia Pape, Anna Maria Maiolino, Lygia Clark, Waly Salomão, and Emil Forman, among many others.

Can queer theory be erotophobic? This book proceeds from the perplexing observation that for all of its political agita, rhetorical virtuosity, and intellectual restlessness, queer theory conforms to a model of erotic life that is psychologically conservative and narrow. Even after several decades of combative, dazzling, irreverent queer critical thought, the field remains far from grasping that sexuality’s radical potential lies in its being understood as “exogenous, intersubjective and intrusive” (Laplanche). In particular, and despite the pervasiveness and popularity of recent calls to deconstruct the ideological foundations of contemporary queer thought, no study has as yet considered or in any way investigated the singular role of psychology in shaping the field’s conceptual impasses and politico-ethical limitations.

Lucifer and cinema have been intertwined since the origins of the medium. As humankind’s greatest antagonist and the incarnation of pure evil, the cinematic devil embodies our own culturally specific anxieties and desires, reflecting moviegoers’ collective conceptions of good and evil, right and wrong, sin and salvation. Giving the Devil His Due is the first book of its kind to examine the history and significance of Satan onscreen.

We are in the fray of another signature moment in the long history of the United States as a project of anti Black and racial–colonial violence. Long before November 2016, white nationalism, white terrorism, and white fascist statecraft proliferated. Thinking across a variety of archival, testimonial, visual, and activist texts—from Freedmen’s Bureau documents and the “Join LAPD” hiring campaign to Barry Goldwater’s hidden tattoo and the Pelican Bay prison strike—Dylan Rodríguez counter-narrates the long “post–civil rights” half-century as a period of White Reconstruction, in which the struggle to reassemble the ascendancy of White Being permeates the political and institutional logics of diversity, inclusion, formal equality, and “multiculturalist white supremacy.”



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