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Chapter five picks up chronologically where chapter one ended: the turn of the century. It focuses on what happens as the Homecomings leave the American South, when a number of the gospel “legends” to whom the early videos pay tribute die. When the Gaithers have a decade’s worth of Homecoming social capital at their backs, they demonstrate the ability to more explicitly push at the demographic boundaries of their fan base.

This chapter focuses on two contemporary editorial projects promoting cultural relations between Spain and Portugal: Minotauro, published by Edições 70, and Confluências, published by Kalandraka. These are the very first Portuguese book series purposefully dedicated to literature written in Spain. The chapter carries out an analysis of both series, taking into account the criteria for title selection as well as the mission statement of each editorial coordinator. By resorting to the polysystem theoretical framework, it argues that Minotauro and Confluências seek to offer an ‘alternative repertoire’ that ranges from more canonical and traditional literature to contemporary narrative. The investigation also stresses the role of cultural producers and mediators (publishers, editors, and critics) in making ‘new’ literary Iberian repertoires accepted in Portugal.

Considering the specificities of theatre translation and its relationship with staging and performance, this chapter deals with the Portuguese publishing market and the editing of Iberian plays in Portuguese translation since the beginning of the twenty-first century. There is special focus on the book series ‘Livrinhos de Teatro’, published in Lisbon by theatre company Artistas Unidos and publishing house Cotovia. It is noted that, from an Iberian point of view, ‘Livrinhos de Teatro’ has been offering translated work from both Spanish and Catalan contemporary playwrights. The series has always counted on institutional support to promote both direct translations and editions of all the plays. Finally, the chapter examines the translation options proposed for the Portuguese title of the play Últimas Palabras de Copito de Nieve by Spanish playwright Juan Mayorga, and argues in favour of the new Iberian ‘contact zone’ that is being built in twenty-first-century theatre translation.

The epilogue presents the contemporary emergence of Israeli-made entertainment on the world stage. The narrative walks through 9/11 and its consequences up to the present day, including the friendly relationship between President Trump and Prime Minister Netanyahu. Finally, the pages account for the championing of Israel by the American far-right via Evangelical donations and the continuing criticisms of Israeli actions including those of Edward Said and BDS.

This chapter analyses the Galician cultural space understood as a contact zone between literary systems. Contemporary Galician poetry is taken as the central point of this study, which focuses on the emergence of a new generation of writers and the international projection of several renowned poets, as well as the growth of translation into Spanish of Galician poetry books. The real functions of these intersystemic transfers are identified from a review of books translated during the period 2013–19 and an analysis of the main translation strategies used. Furthermore, the conclusions offer insights into the symbolic conflict between the Spanish and the Galician literary systems, taking into account their differences in terms of legitimacy, international recognition, and ability to co-opt.

Chapter 1 on Pynchon’s Against the Day focuses on interrelations between mathematics and politics as domains that are both shaken by crises of fundamental beliefs. It examines how Pynchon’s novel draws on the history of mathematics and on concrete concepts to explore the crisis of representation, the transformation of anarchism from political to artistic expression, and the possibilities inherent in imaginary domains. Main mathematical concepts and metaphors include imaginary and complex numbers and the ‘foundational crisis of mathematics’, which Against the Day establishes as producing a mathematics that is ‘an-archistic’ in terms of its loss of foundations and that forms part of the exploration of anarchism across the twentieth century. This chapter demonstrates the centrality of mathematics to Against the Day’s renegotiations of possibilities and responsibilities of the political and the literary, and it shows how the novel’s reimagining of modernism illustrates the relevance of mathematics in developing twenty-first-century responses to the crisis of modernity.

This chapter examines five film adaptations of Lawrence’s works released between 2002 and 2014. Two films (Odour of Chrysanthemums and Lady Chatterley et l'homme des bois) exemplify surface fidelity by preserving Lawrence's setting, plot, and character. The three remaining films (The Rocking Horse Winner, The Blind Man, and The White Stocking) seriously disturb the textual surface. This juxtaposition of strategies reveals that neither is superior. Both have resulted in remarkable films preserving Lawrence's substance even through the process of transformation. The contemporary Lawrence films illuminate his writing as both prophetic and cinematic. The three transformative films verify that his work anticipates the preoccupations and even the events of recent times. All five films reveal Lawrence as a cinematic writer despite his professed dislike of film. The intensely visual scenes all throughout his fiction prefigure cinematic techniques developed long after his death.

Pamela Martin analyzes one of the world’s leading examples of the politics of keeping oil in the ground: the Yasuní-ITT Initiative of Ecuador, a nationwide effort to leave untouched a portion of known oil reserves in the Amazon. The significance of this nascent and evolving case lies largely in the fact that an entire country, indeed an oil-producing country, has entertained the idea of keep it in the ground and acted on it. What’s more, the politics are more than resistance politics; they come from a national movement to live harmoniously with nature, to seek the good life, and to plan for a post-petroleum order. With rights of nature enshrined in its constitution, Ecuador is effectively practicing what we call in this book “twenty-first-century realism.”