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This essay “Pirate Assemblage” explores two related questions. The first is how we read and appreciate the literary form of pirate literature such as Alexander Exquemelin’s Buccaneers of America (1678) and Charles Johnson’s two-volume General History of the Pyrates (volume one 1724, volume two 1728). The second is what the answer to that first question suggests for how we regard pirate literature in relation to more canonical eighteenth-century literature and how this relation might revise our reading of that literature. My answer to the first question explores the concept of “assemblage” for reading and appreciating pirate literature, and my answer to the second question that eighteenth-century literature read in relation to this “pirate assemblage” suggests new ways of reading canonical texts such as Jonathan Swift’s Gulliver’s Travels (1726) and John Gay’s Beggar’s Opera (1728) that were written soon after the first volume of The General History of Pyrates. In doing so, my essay responds to the large body of scholarly literature on pirates that has focused on the question of identity—race, class, gender, and sexuality—and the question of whether or not such literature was transgressive. In my essay, by closely reading the unique literary form of pirate literature and utilizing Gilles Deleuze and Felix Guattari’s concepts of “assemblage” and “minor literature,” I argue that pirate literature, rather than representing transgressive identities, instead progressively produces new economic and social connections that deterritorializes the economy, literary form, and language.

The first generation of Ethiopian filmmakers produced significant fictional and documentary films inside Ethiopia from the 1960s to 1990s, but access to these films has been limited. Drawing on interviews with filmmakers, Kassahun and Thomas analyze this early production in its cultural context and compare it with Haile Gerima’s internationally celebrated Harvest: 3000 Years (1975), produced in the United States, to complicate the meta-narrative of Ethiopia’s film history. In the context of debates by intellectuals about art and politics, early Ethiopian filmmakers participated in an internationally conscious Ethiopian modernism across the political revolutions of 1974 and 1991.

Considering the broad conversation among African novelists about the representation of Africans in America, this essay proposes a reevaluation of Ethiopian American literature that is attentive to the historical complexity of Ethiopia’s ethnic diversity. Situating novels and memoirs in their regional context of the Horn of Africa, it highlights how writers of the Ethiopian diaspora sometimes wrestle with and other times avoid the implications of the region’s ethnic politics. Focusing on the novel The Parking Lot Attendant (2018) by Nafkote Tamirat as a case study, it compares it to how other novelists and memoirists from the region, including Dinaw Mengestu, Nega Mezlekia, Maaza Mengiste, Meti Birabiro, Rebecca Haile, and Nurrudin Farrah, have managed the burden of multi-ethnic representation. Tamirat’s novel is somewhat unique for framing the immigrant experience within the story of a political dystopia and uncanny “loneless” social relations. By analyzing Ethiopian American literature in this way, the essay critiques scholarship that has been inattentive to the complex multi-ethnic history of the region because of its focus on the alienation of Ethiopian protagonists from cross-cultural and intracultural forms of political engagement.

This article examines locally produced Ethiopian movies in the context of its industrial policy and globalization between the years 2002 and 2018. It contributes to the somewhat new scholarly conversation on Ethiopian cinema by analyzing how filmmakers have engaged in dialogue with government policy through the medium of popular cinema in response to rapidly changing socioeconomic conditions. Representatives of Ethiopia's government have participated in highly public international debates about the position of African nations in general, and Ethiopia's “activist developmental state” in particular, within the global economy. This article analyzes Ethiopian cinema in relation to those debates with focused close readings of two movies that were exceptionally popular in Ethiopian movie theaters: Rebuni (dir. Kidist Yilma, 2015) and YeWendoch Guday (dir. Henok Ayele, 2007). In doing so, it compares and contrasts the study of Ethiopia's movie industry with the study of other African cinemas to suggest an alternative economic context and model for the analysis of its cinema.