Description: A fresh narrative history of the rise of Rome’s empire in Italy, that exposes the monumental expansion of the Roman familial, social, political, and militaristic way of living across Italy. Before the Romans could become masters of the Mediterranean, they had to first conquer the people of their own peninsula. This book explores the origins of Roman imperialism and the creation of Rome’s early Italian empire, bringing new light and interpretations to this important but problematic period in Roman history. It explains how and why the Romans were able to expand their influence within Italy, often through the use of armed conflict, laying the foundations for their great imperial project. This book critically reexamines and reframes the traditional literary narrative within an archaeologically informed, archaic Italian context. Jeremy Armstrong presents a new interpretation of the early Roman army, highlighting the fluid and family-driven character which is increasingly visible in the evidence. Drawing on recent developments within the field of early Roman studies, Children of Mars argues that the emergence of Rome’s empire in Italy should not be seen as the spread of a distinct “Roman” people across Italian land, but rather the expansion of a social, political, and military network amongst the Italian people. Armstrong suggests that Rome’s early empire was a fundamentally human and relational one. While this reinterpretation of early Roman imperialism is no less violent than the traditional model, it alters its core dynamic and nature, and thus shifts the entire trajectory of Rome’s Republican history.






Abstract: This chapter explores the intricate relationship between memory, space, and white settler colonialism within Canada’s National Parks, using the Canada 150 Discovery Pass—a state-led commemorative program for Canada’s sesquicentennial—as a case study. It argues that these national parks, celebrated as iconic Canadian landscapes, are pivotal to a white settler national identity that necessitates the disremembering of colonial violence and dispossession for their very existence. The Canada 150 Discovery Parks Pass encouraged Canadians to reflect on, project, and imagine what it means to be Canadian through the viewing and spatial transit of these places purported to represent the best of Canada and its citizen-subjects. However, these parks are also sites of forced removals of Indigenous nations, marked by the dispossessive violence of white settler colonialism, which relies on the attempted erasure and forgetting of Indigenous presence. This chapter contends that these parks, while celebrated as iconic Canadian landscapes, are crucial sites for the production and maintenance of a white settler national identity. Drawing on the work of Critical Race scholars and Indigenous artist Rebecca Belmore’s aesthetic intervention, Wave Sound, the chapter demonstrates how the pass consolidates a white possessive subjectivity that justifies ongoing colonial land appropriation and elides colonial history. In contrast, Belmore’s sculptural objects, installed in four National Parks, invited visitors to listen to the land rather than merely view and transit through it, thereby offering an opportunity to challenge official memory and foster alternative forms of remembering.