LITMIR.BIZ

A timely exploration of how odor seeps into structural inequality Our sense of smell is a uniquely visceral—and personal—form of experience. As Hsuan L. Hsu points out, smell has long been spurned by Western aesthetics as a lesser sense for its qualities of subjectivity, volatility, and materiality. But it is these very qualities that make olfaction a vital tool for sensing and staging environmental risk and inequality. Unlike the other senses, smell extends across space and reaches into our bodies. Hsu traces how writers, artists, and activists have deployed these embodied, biochemical qualities of smell in their efforts to critique and reshape modernity’s olfactory disparities. The Smell of Risk outlines the many ways that our differentiated atmospheres unevenly distribute environmental risk. Reading everything from nineteenth-century detective fiction and naturalist novels to contemporary performance art and memoir, Hsu takes up modernity’s differentiated atmospheres as a subject worth sniffing out. From the industrial revolution to current-day environmental crises, Hsu uses ecocriticism, geography, and critical race studies to, for example, explore Latinx communities exposed to freeway exhaust and pesticides, Asian diasporic artists’ response to racialized discourse about Asiatic odors, and the devastation settler colonialism has reaped on Indigenous smellscapes. In each instance, Hsu demonstrates the violence that air maintenance, control, and conditioning enacts on the poor and the marginalized. From nineteenth-century miasma theory theory to the synthetic chemicals that pervade twenty-first century air, Hsu takes smell at face value to offer an evocative retelling of urbanization, public health, and environmental violence.

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Perhaps the most popular of all canonicalAmerican authors, Mark Twain is famous for creating works that satirizeAmerican formations of race and empire. While many scholars have exploredTwain’s work in African Americanist contexts, his writing on Asia and AsianAmericans remains largely in the shadows. In Sitting in Darkness, Hsuan Hsuexamines Twain’s career-long archive of writings about United States relationswith China and the Philippines. Comparing Twain’s early writings about Chineseimmigrants in California and Nevada with his later fictions of slavery andanti-imperialist essays, he demonstrates that Twain’s ideas about race were notlimited to white and black, but profoundly comparative as he carefully craftedassessments of racialization that drew connections between groups, includingAfrican Americans, Chinese immigrants, and a range of colonial populations.Drawing on recent legal scholarship,comparative ethnic studies, and transnational and American studies, Sitting inDarkness engages Twain’s best-known novels such as Tom Sawyer, HuckleberryFinn, and A Connecticut Yankee in King Arthur’s Court, as well as hislesser-known Chinese and trans-Pacific inflected writings, such as theallegorical tale “A Fable of the Yellow Terror” and the yellow face play AhSin. Sitting in Darkness reveals how within intersectional contexts of ChineseExclusion and Jim Crow, these writings registered fluctuating connectionsbetween immigration policy, imperialist ventures, and racism.

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