University Press of Mississippi

ABSTRACT Geophysical detection of clandestine tunnels is a complex problem that has met with limited success. Multiple methods have been applied, spanning several decades, but a reliable solution has yet to be found. We evaluated shallow seismic data collected at a tunnel test site representative of geologic settings found along the southwestern U.S. border. Our results demonstrated the capability of using P-wave diffraction and surface-wave backscatter techniques to detect a purpose-built subterranean tunnel. Near-surface seismic data were also collected at multiple sites in Afghanistan to detect and locate subsurface anomalies, including data collected over the escape tunnel discovered in 2011 at the Sarposa Prison in Kandahar, Afghanistan, which allowed more than 480 prisoners to escape, and data from another shallow tunnel recently discovered at an undisclosed location. The final example from Afghanistan was the first time surface-based geophysical methods have detected a tunnel whose presence and location was not previously known. Seismic results directly led to the discovery of the tunnel. Interpreted tunnel locations for all examples were within less than 2 m of the actual location. Seismic surface-wave backscatter and body-wave diffraction methods showed promise for efficient data acquisition and processing for locating purposefully hidden tunnels within unconsolidated sediments.

Abstract: This article traces the history of homosexual and transgender behavior in Senegal from colonial times to the contemporary period in order to demonstrate the flimsiness of the claims, made by many political and religious leaders and scholars, that homosexuality is “un-African.” Such claims, which appear as reactions to neocolonialism and Western intervention in African affairs, usually are homophobic discourses that invoke patriotism, cultural difference, and morality in order to justify the subjugation of homosexual and gender nonconforming individuals ( goor-jiggens ) living in Senegal. In an attempt to understand the roots of Senegalese homophobia, the article analyzes several depictions of homosexuals and transgender people in contemporary Senegal and traces them to similar representations in European writings of the colonial period. As this approach reveals, homosexuals and transgender people in Senegal, from colonial times to the present, have been constructed as scapegoats, first of the French mission civilisatrice (civilizing mission) and then of Senegalese political and Islamic backlashes. Although they have always cohabited with the rest of the society, homosexuals and transgender people in Senegal have been treated largely as strangers in their own land. By analyzing the discourses of both French colonials and Senegalese, one finds a persistent binary opposing the West and Africa and denigrating sexual and gender variances and subcultures in Senegal as pathological European imports.

University of Mississippi Hospitals and Clinics, Jackson, Mississippi. jwbethea@anesthesia.umsmed.eduClinical Anesthesia, 6th Edition. Edited by Paul G. Barash, M.D., Bruce F. Cullen, M.D., Robert K. Stoelting, M.D., Michael K. Cahalan, M.D., M. Christine Stock, M.D. Philadelphia, Lippincott Williams & Wilkins, 2009. Pages: 1,640. Price: $199.00.Clinical Anesthesia , 6th edition, by Barash et al . continues the tradition of targeting the need between the introductory level books, such as Basics of Anesthesia by Stoelting and Miller,1and the most comprehensive textbooks, such as Miller's Anesthesia .2Such a focus serves a wide variety of readers, including the trainee looking for a primary reference, those preparing for recertification, and those needing to refresh their knowledge before a special case. In this new edition, they have expanded into multimedia. Each volume comes with access to a web site that contains a searchable full-text version of the book, online testing, an image bank, and downloadable podcasts for use on computers and many smartphones.As with previous editions of Clinical Anesthesia , it is expansive in its coverage of anesthesiology. The chapters are largely very readable and of reasonable length for the topics covered. It is generally written in a fashion that provides the clinically relevant facts in a manner that flows easily. The illustrations, charts, and photographs convey ideas or summarize data efficiently. This edition adds two new chapters: (1) Echocardiography and (2) Inflammation, Wound Healing and Infection. The chapter on Echocardiography is largely straightforward, with labeled pictures both in the textbook and on the web site. The chapter on Wound Healing and Infection brings the reader to a greater appreciation of how our intraoperative and postoperative management of patients affects their surgical outcome. Although at times it goes into greater detail on the molecular biology than may be necessary, the chapter succeeds in making the subjects clinically relevant. At the end of the chapter is a short section labeled “Areas for Future Research.” In this section, the authors list several questions that would make for clinically relevant research topics. For those in training, these ideas may stimulate their interest in research. This is a feature that would be good for the other chapters to have.An important issue with any textbook is the content and how well it is presented. In the 6th edition, approximately one third of the 141 contributors are new, and there are five editors. Given the overlapping scopes of coverage by so many authors, there will be redundancies and areas of disagreement. The editors have allowed reasonable redundancies and some points of contention to remain. Many who are preparing for initial board examination or for recertification may be frustrated by this lack of consensus and may want the editors to “pick the right answer.” For a book of this scope and with this many contributors, I believe the editors have done a remarkably fine job of managing the content and the writing styles. Indeed, to simply “pick an answer” to a controversial question would be a disservice to the readers, as it would give the illusion of clarity when clarity does not yet exist. The editors' efforts have resulted in a cohesive textbook, without sacrificing the quality or coverage of individual chapters.Although most of the web-based features have significant room for improvement, the online access to the text is nice to have when the book itself is not readily available. The searchable full-text service is strictly that—a version of the textbook loaded on a website. It does only literal searches (i.e ., does not search along common synonyms). It does not offer suggestions for spelling errors. How it determines the ranking of its “hits” for some queries is still a question. I found no integrated video and that was especially disappointing for the sections on echocardiography and the use of ultrasound guidance for nerve blocks. Accessing the references using the links provided is problematic unless you already subscribe as an individual to the online document suppliers provided.The searchable image bank does provide downloadable images. Most images are of good quality. However, some of the images are of very low resolution (e.g ., the American Society of Anesthesiogists' official seal). The window provided to view the images is rather small and cannot be resized. This is a problem because a good number of the images will not be fully displayed until the size is set to 50%, and this has to be done for each image.The enhanced podcasts are rather short, are only eight in number, and are largely abbreviated text being read, supported by static images, charts, or graphs. As with the online text, the opportunity to provide video to communicate dynamic processes such as transesophageal echocardiograhy or ultrasound guidance for nerve blocks is missed.The interactive quiz bank is a good feature that simply does what it says. It is not as sophisticated as the Anesthesiology Continuing Education program produced by the American Society of Anesthesiologists. The number of questions (363) is quite reasonable, and the quality of the questions is good.Overall, the 6th edition of Clinical Anesthesia is an excellent book that will meet the needs of a broad range of readers. Although the online features have room for improvement, the book itself is “the best of breed.” It is still the best single volume text on anesthesiology and belongs in every practitioner's collection.University of Mississippi Hospitals and Clinics, Jackson, Mississippi. jwbethea@anesthesia.umsmed.edu

W.E.B. Du Bois, fondateur et rédacteur en chef du journal mensuel The Crisis , créé par la NAACP, était déterminé à donner aux Africains-Américains une voix nationale pour rendre compte de leur propre histoire, de leurs propres affaires politiques et des problèmes sociaux qu'ils rencontraient. Dès le numéro inaugural, en 1910, Du Bois a fait appel à des illustrateurs de caricatures politiques, véritables éditoriaux en eux-mêmes. Les artistes, pour la plupart restés inconnus des historiens, ont créé des images de terrorisme racial comme éléments de leur œuvre, y compris des images de lynchage. En un seul dessin, les aspects les plus horribles de cette activité extralégale pouvaient être capturés ; les Américains blancs usaient du lynchage pour maintenir leur suprématie blanche, contrôler les Africains-Américains et limiter leur progrès économique et social. En publiant des essais, des statistiques, des photographies et des dessins de lynchages, Du Bois et son équipe ont rendu visible et maintenu cet acte cruel au premier plan, à l'attention de leur lectorat. Une seule image pouvait en dire autant qu'un ouvrage entier et ainsi contribuer aux efforts visant à mettre fin à la violence raciale, à mobiliser politiquement le lectorat et à donner aux Africains-Américains leur propre voix dans la lutte contre le lynchage en Amérique.

Contemporary novels about refugees often question the appropriateness of traditional narrative forms to relate stories of forced migration which involve a fragmentation of the self and of one’s sense of reality. Writers opt instead for forms which are as disjointed as the experience of refugees themselves. This paper explores the precarious balance between a poetics of rupture and an aesthetics of connectivity in two novels about refugees: Exit West (2017) by Mohsin Hamid and Travelers (2019) by Helon Habila. It first examines the strategies developed by both authors to destabilize form in order to reflect the refugees’ shattering ordeals during and after their forced displacements. The multiplicity of stories as well as the shifts in focalization and narrative modes testify to the impossibility of inscribing refugees’ experiences within a single coherent and homogeneous pattern. However, Hamid and Habila also draw from the potentialities of the novelistic genre to devise formal ways of connecting apparently disparate story lines and thereby suggest possibilities for cross-cultural solidarity between refugees who share a common condition of vulnerability.

Civil War when Franco's dictatorship exaggerated the conviction that society should be asymmetrically organised.One clear example of this in practise was the rigidly separate "girl" and "boy" sections in the Falangist youth organisation (Manrique Arribas 234).Gil chose to fill the girls' magazines with fantasy, fairy tale and a naive amiable style, whilst adventure, realist and spectacular style was absent from the girls' comics (Alary, 2016, 9).Just like the temporary, disposable nature of cut-outs, designed to be swapped and replaced, comics' seriality creates opportunities for redesigning and reinventing the image of girls.As with McCay's Henrietta, the relationship between seriality and temporality has been extensively explored by a variety of comics.Many comics' girls eternally stay the same age, such as Little Lulu, Nancy, Mafalda and the Philosophical Girl, to name just a few.The ideological fallacy of a girl as frozen in a perpetual childhood alludes to other timeless stories.Fairy tales and folk characters are a rich source of inspiration for comics.There is an inevitable overlap between the girls of these traditional stories and a plethora of comic characters.More than just the characters though, the ideologies of folk stories filter through.As Pascal Lefèvre argues, prankster stories rewrite the "god, spirit, adult or anthropomorphic animal" of myth and folklore, into "a child that disobeys normal rules and conventional behaviour" (8).Although "naughty" in a traditional sense, the creative, playful, clever and unconventional trickster behaviour affords these characters an immunity from normal rules.Lefèvre argues that, consequently, trickster characters go unpunished.Although some are punished, there is a strange ambiguity about such characters that, despite their rule breaking, they are adored.There is a strong tradition of girl trickster characters, those who do not conform or those who are intentionally mischievous.Grace Drayton's Toodles (who later became Dolly Dimples), Betsy Bouncer and Her Doll by Tom Tucker (who was possibly E. W. Kemble), and Madge the Magician's Daughter by W. O. Wilson are just some from the turn of the century, whilst later incarnations of these characters are Peanuts' Lucy Van Pelt by Charles Schulz or Ernie Bushmiller's Nancy.In British comics for children, this trope of trickster girls has led to a raft of characters whose names tell their stories; Beryl the Peril, Minnie the Minx and Ivy the Terrible are just a few examples.As characters of serial strips, what all of these characters share is their confinement to rules and morals.Although mostly humorous and therefore not intended to be taken seriously, such characters, by being continually naughty, draw over time clear demarcations around what is and what is not acceptable, good, nice, kind, thoughtful, correct or appropriate behaviour for girls.Whether their actions result in punishmentor laughter, the strips themselves offer a wider social commentary about expectations, a commentary especially enforced through their repetition due to seriality.There is a curious tension worthy of exploration between how serial comic characters are frozen in their strip worlds, often with a dogmatic persistence (British girls were still spanked as punishment in comics in the 1980s, even though it was generally frowned upon in real life).At the same time, naughty girls in comics have an endless potential for repetition, for adjust-

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In the following article, I will attempt to outline a new reading methodology for Beat fiction, based on some of the principles of bop aesthetics. This reading understands fiction—especially Beat fiction—as an aural art, as opposed to merely a textual phenomenon (and so considers fiction in much the same way that poetry and music are often considered). Jack Kerouac composed his novel Visions of Gerard in 1956 (released in 1963), the same year Charles Mingus released his classic album Pithecanthropus Erectus. I contend that by reading Kerouac’s novel in terms of Mingus’s methods of composition as recorded on that album, we can more clearly hear the influence of jazz music on Kerouac’s prose; as such, we can better understand the means by which jazz music became important as a compositional method and not just as a theme for Kerouac’s novels. Further, becoming more attuned to the means by which Kerouac composed his fiction as an aural soundscape—how he was sensitive not just to the words themselves but to the sounds that comprise those words and their relationships—we can better appreciate the various ways that Kerouac imbued his novels with aural qualities that emphasized the ideas and emotions raised and/or engaged by the narratives.

David Roche's book-length study of the eight films directed by Quentin Tarantino (up to

Sugar, Spice, and the Not So Nice offers an innovative, wide-ranging and geographically diverse book-length treatment of girlhood in comics. The various contributing authors and artists provide novel insights into established themes within comics studies, children’s comics, graphic medicine and comics by and about refugees and marginalised ethnic or cultural groups. The book enriches traditional historical, narratological and aesthetic approaches to studying girlhood in comics with practice-based research, discussion and conversation. This re-examination of girls, gender and identity in comics connects with contemporary discourse on gender identity politics. Through examples from both within Europe, the anglophone world and beyond, and including visual essays alongside critical theory, the volume furthermore engages with new developments in contemporary comics scholarship. It will therefore appeal to students and scholars of childhood studies, comics scholars and creators, and those interested in addressing gender identity through the prism of comics.

There are certain books that will continue to be relevant to contemporary discourse as it fashions themselves out of history, Toyin Falola’s book, Memories of Africa, Home, and Abroad in the United States, is one of those. In the abyss of ‘remembering’ and ‘recollecting’, Falola takes his readers through a seamless journey in the collection of essays and selected images that make up the entirety of his book by exploring the experiences of African migrants through a recount of their memoirs. Thus, memoir is the lens through which Falola challenges normative linear narratives of African history to provide a more complex understanding of the African continent through the creation of complicated stories of African migrants and their lived experiences.