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Ngugi wa Thiong'o's novel Weep Not, Child is set against the backdrop of the state of emergency in Kenya (1952–1961), a period of violent conflict between the British colonial authorities and the Kenyan nationalists. This paper adopts a qualitative analysis method by analyzing descriptive data collected from secondary sources like books, articles, and so forth through close reading and textual analysis. Employing Ghassan Kanafani and Barbara Harlow’s critical analysis of ‘Resistance Literature’ this paper aims to analyze various ways colonial indoctrination and subsequent resistance resonated in the novel. Ngugi wa Thiong’o’s novel effectively reverberates resistance by highlighting Kenya and Africa's cultural and social history, which colonizers have attempted to erase or distort. It also challenges invaders' generalizations and misinterpretations, revealing the rich cultural and social history hidden beneath the 'dark continent' propaganda. The paper approaches Weep Not, Child as a resistance literature that challenges colonial indoctrination and asserts the quest for liberation and identity. Therefore, it highlights the trifecta of resistance, namely cultural, political, and military resistance against colonial indoctrination. The paper contributes to the existing literature on resistance literature and postcolonial studies by offering a novel perspective on wa Thiong’o’s work and its relevance to the contemporary context.

It is with deep sorrow that we open this issue with the announcement that IJMES editorial board member Barbara Harlow has passed away. We mourn the unexpected loss of our dear colleague, one of the most brilliant and accomplished scholars in Middle East studies. In addition to her influential work, Barbara was known for her keen mind, generous spirit, and gentle sense of humor, coupled with an unabiding sense of justice. She will be sorely missed by the IJMES and Middle East and North Africa studies families. We encourage you to read Tarek al-Ariss's moving tribute to Barbara published at the end of this issue.

For marginalised sections of society, literature can be an arena to express dissent and protest against societal norms. Literary texts that challenge dominant societal power relations are designated as resistance literature. Resistance literature emerges from conflict zones and seeks to oppose and subvert the dominant discourses of power and hegemonic practices. Basharat Peer's Curfewed Night signalled the beginning of such a literary genre from Kashmir by challenging hegemonic nationalist discourses on the Kashmir conflict. This paper aims to show how Curfewed Night falls under the scope of resistance literature and heralds a new subgenre within the canon of Indian English literature. Keywords: Resistance Literature, Kashmir, Hegemony, Power, Indian English Literature.

Qingbiao Liang, who teaches at the Jiangxi Normal University in Nanching City, China, and coedits the Journal of Modern Life Writing Studies, will be spending a year with us to pursue a project on political philosophy and national identity as reflected in autobiographical writing. Sam Ferguson reflects on the emergence of the genres of autobiography and the journal intime in eighteenth-century France, Kathryn Sederberg analyzes a diverse selection of diaries German citizens kept during the final years of the Second World War, and Meliz Ergin examines Jacques Derrida's Monolingualism of the Other as an occasion for exploring intersections among autobiography and philosophy, subjectivity and language, and identity and writing in Derrida's thought. In this issue Laura E. Lyons and S. Shankar, both of whom earned their doctoral degrees under Barbara's direction at the University of Texas at Austin, offer accounts of Barbara's engagement with life writing from the perspective of scholars whose own work has been shaped by her critical imagination.

On 28 January 2017, the field of Middle East studies lost one of its strongest and most vocal advocates—Barbara Harlow. Barbara led a heroic life: writing, resisting, drinking, and smoking, to the end! With the heart of a warrior, she practiced muqāwama at every level and in every possible way. Her power of the “No” confronted structures of power, normativity of all kind, and fluff. She was solid, engaged, wise, and infinitely supportive of her students, colleagues, and causes. She was the first to arrive at every demonstration and the last to leave, making sure that the pro-bono lawyers were ready at police stations to work on releasing those arrested. Barbara was real, genuine, and fun to be around. She loved to hear the latest news—and gossip—from Cairo and Beirut as we sat at her kitchen table, sipping white wine and smoking. She read everything, from mystery novels set in Cairo or London to the most recent study on Arabic literature and culture. Browsing her library one finds graphic novels from the Ghassan Kanafani Foundation that she used to learn Arabic; all of Lacan, Blanchot, Artaud, and Derrida from her poststructuralist days; legal and political theory books dealing with South Africa and Palestine; and complete series of journals such as al-Hadaf and al-Karmel.

Barbara Harlow's commitment to struggles for liberation and justice was always at the same time a commitment to academic inquiry. She entwined the two and located emancipatory potential in both even as both were subject to her criticism. She emphasized the contradictions and debates within these projects as generative of what she called \"renewed histories of the future\" (Harlow 1996, 10). Harlow focused on the possibility of producing narratives that challenge conditions of domination and oppression, as well as the disciplinary boundaries and modes of analysis within the academy that supported these conditions and restricted \"more comparative and critical ways\" of reading and writing. Her work was always critical, generative, and political. [web URL: https://read.dukeupress.edu/jmews/article-abstract/13/3/458/132570/Troubling-AcademeDisability-Borders-and-Boundaries?redirectedFrom=fulltext]

O conceito de literatura de resistência deve ser usado para designar todas as formas de poesia que se insurgem contra a opressão e não, como sugerido por Barbara Harlow, limitado apenas à poesia da luta anti-colonial dos anos sessenta do século vinte. Neste ensaio examinam-se alguns poemas de Langston Hughes, Fredrick Seidel, Adrienne Rich e Suheir Hammad como exemplos nítidos de como a poesia resiste a opressão quer seja, política, racial, ou económica.