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book reviews: Global Justice Networks: Geographies of Transnational Solidarity. By Paul Routledge and Andy Cumbers. Manchester: Manchester University Press. 2009. 224 pp. £60 hardback. ISBN: 9780719076855

Chapter 3 on ‘photographic memory’, Williams uses ‘headshot photography’ as a self-explanatory category to compare: personal portraits that protesting Argentinean mothers taped onto their bodies (while marching in the Plaza de Mayo and in turn being photographed); photographs of the 17,000 people interred at the S-21 secret prison in Phnom Penh taken by the ‘Democratic Kampuchea’ regime of the Khmer Rouge (that would become part of the Vietnamese-established exhibition at the Tuol Sleng Museum); and images of missing loved ones on the more than 100,000 flyers posted following 9/11 (that would later be photographed and exhibited). Only one descriptive paragraph is given to each case study to argue that: ‘headshots possess a distinctly unsettling, uncanny status’ and ‘the way they are contextualized and narrated [in memorial museums] is vital’ (p. 64). No further discussion or analysis is given. To assert that these three examples are of the same type or that they are unsettling because they are ‘uncanny’ is inaccurate and superficial. There are significant distinctions between the contexts and reasons for the production, uses, and circulation of these images that warrant a more thoughtful discussion. Only at the end of the book does the author identify the qualities of memorial museums: ‘their display of sensitive artifacts and images requires ethical attention to issues of emotional effect; their geographic location is often more critical; they are more directly implicated in political controversy; visitors are often directly situated in relation to the event; memory and testimony have a comparatively enlarged status; their pedagogy has a weightier gravitas’ (p. 190). Nonetheless, the author discusses other memory sites – public art projects, cemeteries, churches, parks, and architectural features – because they ‘properly highlight salient museum issues. Indeed a goal of this book has been to allow the variety and complexity of my examples to enlarge standard concepts of the museological’ (p. 181). Had this goal been clearly articulated and used to organize the book, the final product may not have been so haphazard.