Recent Books
Playthrough Poetics: Gameplay as Research Method
Milena Droumeva
Game streamers and live commentators are producing increasingly comprehensive analyses of gameplay, yet scholarship still tends to flatten the experiential media of video games into text for close reading. By shifting focus toward the immersiveness of video games, Playthrough Poetics makes the case for gameplay as a necessary, alternate method. Contributors to this volume engage widely with the activity of play through autoethnographies, meta-analyses of self-broadcasting, new procedural methods like gamespace soundwalking, as well as the affective aspects of games research. In doing so, they model new possibilities for academic players and gamers alike.
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Manfred Macmillan: Book One of the Three Magicians Trilogy
Jiří Karásek ze Lvovic, translated by Carleton Bulkin, introduction by Carleton Bulkin and Brian James Baer
Decadence meets gothic in Manfred Macmillan (1907), a carefully constructed tale of doppelgängers, magical intrigue, and the rootless scion of a noble house. This annotated, first-ever English translation presents an early queer novel long unavailable except in the original Czech.
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Silencing the Drum: Religious Racism and Afro-Brazilian Sacred Music
Danielle N. Boaz and Umi Vaughan
Silencing the Drum exposes the profound struggle of Afro-Brazilian sacred music against escalating intolerance. Danielle N. Boaz and Umi Vaughan blend legal scholarship with ethnomusicology, offering a compelling narrative rooted in interviews with religious leaders, musicians, and activists across Brazil. This multidisciplinary exploration examines the relentless attacks against the practitioners of Afro-Brazilian religions—from discriminatory noise complaints in Bahia to vigilante violence in Rio de Janeiro.
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Re-entry
Marianne Solivan
Re-entry is acclaimed musician Marianne Solivan’s fifth jazz album. Working with a group of musicians including Leandro Pellegrino (guitar), Steve Wood (bass), Jay Sawyer (drums) and Alex Terrier (saxophones) over the early years of the COVID-19 pandemic, Solivan first rehearsed a varied repertoire in an empty neighborhood bar, recording just as New York City was coming out of lockdown. In her words, “Everyone brought in music they loved, and we all jumped in on every song. Arrangements were shaped and reshaped until we all felt they were right. We had no allegiances to style or genre but only to our own musicianship and musicality.”
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