New Books in Foley Library

A remarkable poetry collection with "inextinguishable generosity and abundant wisdom" (Monica Youn) from Clint Smith, the #1 New York Times bestselling and National Book Critics Circle award-winning author of How the Word Is Passed. Clint Smith's vibrant and compelling new collection traverses the vast emotional terrain of fatherhood, and explores how becoming a parent has recalibrated his sense of the world. There are poems that interrogate the ways our lives are shaped by both personal lineages and historical institutions. There are poems that revel in the wonder of discovering the world anew through the eyes of your children, as they discover it for the first time. There are poems that meditate on what it means to raise a family in a world filled with constant social and political tumult. Above Ground wrestles with how we hold wonder and despair in the same hands, how we carry intimate moments of joy and a collective sense of mourning in the same body. Smith's lyrical, narrative poems bring the reader on a journey not only through the early years of his children's lives, but through the changing world in which they are growing up-through the changing world of which we are all a part. Above Ground is a breath taking collection that follows Smith's first award-winning book of poetry, Counting Descent. Above Ground is a breath taking collection that follows Smith's first award-winning book of poetry, Counting Descent.

INSTANT NEW YORK TIMES BESTSELLER * USA Today Bestseller * Washington Post's The Twelve Best Thrillers of the Year * TIME's 100 Must Read Books of the Year * Goodreads Choice Award Nominee * USA Today's Best Reviewed Books of the Year * BookPage's Best Mystery of the Year * Publishers Weekly's Best Books of the Year * New York Times Book Review Editors' Choice * Cover of the New York Times Book Review * Barack Obama's Summer Reading List * The Financial Times's Best Crime Books of the Year * ALA Andrew Carnegie Medal for Excellence in Fiction Longlist * SIBA's 2024 Southern Book Prize Finalist * Starred Publishers Weekly * Starred Library Journal * Starred BookPage * Starred Booklist "Fresh and exhilarating. . . Cosby keeps his eye on the story and the pedal to the metal." --Stephen King, The New York Times Book Review A Black sheriff. A serial killer. A small town ready to combust. The new novel from New York Times bestselling and Los Angeles Times Book Prize-winning author S. A. Cosby, "one of the most muscular, distinctive, grab-you-by-both-ears voices in American crime fiction." --Washington Post. "An atmospheric pressure cooker." --People Titus Crown is the first Black sheriff in the history of Charon County, Virginia. In recent decades, quiet Charon has had only two murders. But after years of working as an FBI agent, Titus knows better than anyone that while his hometown might seem like a land of moonshine, cornbread, and honeysuckle, secrets always fester under the surface. Then a year to the day after Titus's election, a school teacher is killed by a former student and the student is fatally shot by Titus's deputies. As Titus investigates the shootings, he unearths terrible crimes and a serial killer who has been hiding in plain sight, haunting the dirt lanes and woodland clearings of Charon. With the killer's possible connections to a local church and the town's harrowing history weighing on him, Titus projects confidence about closing the case while concealing a painful secret from his own past. At the same time, he also has to contend with a far-right group that wants to hold a parade in celebration of the town's Confederate history. Charon is Titus's home and his heart. But where faith and violence meet, there will be a reckoning. Powerful and unforgettable, All the Sinners Bleed confirms S. A. Cosby as "one of the most muscular, distinctive, grab-you-by-both-ears voices in American crime fiction" (The Washington Post).

Winner, Donald Hall Prize for Poetry Finalist, 2023 NBCC Award for Poetry Winner, 2023 Poetry Society of America Norma Farber First Book Award Finalist, 2023 Washington State Book Award in Poetry Finalist, 2024 Kate Tufts Discovery Award The poems in Paul Hlava Ceballos's debut collection banana [ ] reveal the extractive relationship the United States has with the Americas and its people through poetic portraits of migrants, family, and personal memories. At the heart of the book is a long poem that traces the history of bananas in Latin America using only found text from sources such as history books, declassified CIA documents, and commercials. The book includes collage, Ecuadorian decimas, a sonnet series in the voices of Incan royalty at the moment of colonization, and a long poem interspersed with photos and the author's mother's bilingual idioms. Traversing language and borders, history and story, traditional and invented forms, this book guides us beyond survival to love.

NEW YORK TIMES BESTSELLER * NAACP IMAGE AWARD NOMINEE * AMAZON'S TOP 20 HISTORY BOOKS OF 2023 * B&N BEST OF EDUCATIONAL HISTORY * THE ROOT'S BEST BOOKS OF 2023 * CHICAGO PUBLIC LIBRARY FAVORITE BOOKS OF 2023 From acclaimed columnist and political commentator Michael Harriot, a searingly smart and bitingly hilarious retelling of American history that corrects the record and showcases the perspectives and experiences of Black Americans. America's backstory is a whitewashed mythology implanted in our collective memory. It is the story of the pilgrims on the Mayflower building a new nation. It is George Washington's cherry tree and Abraham Lincoln's log cabin. It is the fantastic tale of slaves that spontaneously teleported themselves here with nothing but strong backs and negro spirituals. It is a sugarcoated legend based on an almost true story. It should come as no surprise that the dominant narrative of American history is blighted with errors and oversights--after all, history books were written by white men with their perspectives at the forefront. It could even be said that the devaluation and erasure of the Black experience is as American as apple pie. In Black AF History, Michael Harriot presents a more accurate version of American history. Combining unapologetically provocative storytelling with meticulous research based on primary sources as well as the work of pioneering Black historians, scholars, and journalists, Harriot removes the white sugarcoating from the American story, placing Black people squarely at the center. With incisive wit, Harriot speaks hilarious truth to oppressive power, subverting conventional historical narratives with little-known stories about the experiences of Black Americans. From the African Americans who arrived before 1619 to the unenslavable bandit who inspired America's first police force, this long overdue corrective provides a revealing look into our past that is as urgent as it is necessary. For too long, we have refused to acknowledge that American history is white history. Not this one. This history is Black AF. 

Conversational, irreverent, and disarmingly honest, the poems of But She Is Also Jane follow the everyday contours of women's lives and the expectations they grapple with. As our speaker approaches middle age, she copes with the loss of loved ones, the realities of an emptying nest, the routine indignities of sexism, and nostalgia for the past. Laura Read's third poetry collection balances discussions of Degas, Vermeer, and Marie Curie with reflections on Sammy Hagar, a troubling outing to a male revue, and memories of watching Mork and Mindy on the night of her mother's hysterectomy.

In Cipota under the Moon, Claudia Castro Luna scores a series of poems as an ode to the Salvadoran immigrant experience in the United States. The poems are wrought with memories of the 1980s civil war and rich with observations from recent returns to her native country. Castro Luna draws a parallel between the ruthlessness of the war and the violence endured by communities of color in US cities; she shows how children are often the silent, unseen victims of state-sanctioned and urban violence. In lush prose poems, musical tankas, and free verse, Castro Luna affirms that the desire for light and life outweighs the darkness of poverty, violence, and war. Cipota under the Moon is a testament to the men, women, and children who bet on life at all costs and now make their home in another language, in another place, which they, by their presence, change every day.

Winner of the 2023 National Book Critics Circle Award for Criticism Winner of the 2023 ASAP Book Prize, given by the Association for the Study of the Arts of the Present Explores expressionlessness, inscrutability, and emotional withholding in Black cultural production Arguing that inexpression is a gesture that acquires distinctive meanings in concert with blackness, Deadpan tracks instances and meanings of deadpan--a vaudeville term meaning "dead face"--across literature, theater, visual and performance art, and the performance of self in everyday life. Tina Post reveals that the performance of purposeful withholding is a critical tool in the work of black culture makers, intervening in the persistent framing of African American aesthetics as colorful, loud, humorous, and excessive. Beginning with the expressionless faces of mid-twentieth-century documentary photography and proceeding to early twenty-first-century drama, this project examines performances of blackness's deadpan aesthetic within and beyond black embodiments, including Young Jean Lee's The Shipment and Branden Jacobs-Jenkins's Neighbors, as well as Buster Keaton's signature character and Steve McQueen's restitution of the former's legacy within the continuum of Black cultural production. Through this varied archive, Post reveals how deadpan aesthetics function in and between opacity and fugitivity, minimalism and saturation, excess and insensibility.

WINNER OF THE 2020 NATIONAL BOOK AWARD FOR POETRY "Don Mee Choi's urgent DMZ Colony captures the migratory latticework of those transformed by war and colonization. Homelands present and past share one sky where birds fly, but 'during the Korean War cranes had no place to land.' Devastating and vigilant, this bricolage of survivor accounts, drawings, photographs, and hand-written texts unearth the truth between fact and the critical imagination. We are all 'victims of History,' so Choi compels us to witness, and to resist."--Judges Citation Woven from poems, prose, photographs, and drawings, Don Mee Choi's DMZ Colony is a tour de force of personal and political reckoning set over eight acts. Evincing the power of translation as a poetic device to navigate historical and linguistic borders, it explores Edward Said's notion of "the intertwined and overlapping histories" in regards to South Korea and the United States through innovative deployments of voice, story, and poetics. Like its sister book, Hardly War, it holds history accountable, its very presence a resistance to empire and a hope in humankind.

Family and nation formed a reliable bedrock of security for precocious 11-year-old Lea Ypi. She was a Young Pioneer, helping to lead her country toward the future of perfect freedom promised by the leaders of her country, the People's Socialist Republic of Albania. Then, almost overnight, the Berlin Wall fell and the pillars of her society toppled. The local statue of Stalin, whom she had believed to be a kindly leader who loved children, was beheaded by student protestors. Uncomfortable truths about her family's background emerged. Lea learned that when her parents and neighbors had spoken in whispers of friends going to "university" or relatives "dropping out," they meant something much more sinister. As she learned the truth about her family's past, her best friend fled the country. Together with neighboring post-Communist states, Albania began a messy transition to join the "free markets" of the Western world: a dystopia of pyramid schemes, organized crime, and sex trafficking. Her father, despite his radical left-wing convictions, was forced to fire workers; her mother became a conservative politician on the model of Margaret Thatcher. Lea's typical teen concerns about relationships and the future were shot through with the existential: the nation was engulfed in civil war. Ypi's outstanding literary gifts enable her to weave together this colorful, tumultuous coming-of-age story in a time of social upheaval with thoughtful, fresh, and invigorating perspective on the relation between the personal and the political, and on deep questions about freedom: What does freedom consist of, and for whom? What conditions foster it? Who among us is truly free?

* WINNER OF THE 2024 ANISFIELD-WOLF BOOK AWARD * * FINALIST FOR THE 2023 NATIONAL BOOK AWARD * * NAMED A BEST BOOK OF 2023 BY THE NEW YORK TIMES BOOK REVIEW, NPR, TIME, ELECTRIC LITERATURE, BOMB, PUBLISHERS WEEKLY, AND LIBRARY JOURNAL * A major achievement by Monica Youn, "one of the most consistently innovative poets working today" (NPR). "Where are you from . . . ? No--where are you from from?" It's a question every Asian American gets asked as part of an incessant chorus saying you'll never belong here, you're a perpetual foreigner, you'll always be seen as an alien, an object, or a threat. Monica Youn's From From brilliantly evokes the conflicted consciousness of deracination. If you have no core of "authenticity," no experience of your so-called homeland, how do you piece together an Asian American identity out of Westerners' ideas about Asians? Your sense of yourself is part stereotype, part aspiration, part guilt. In this dazzling collection, one sequence deconstructs the sounds and letters of the word "deracinations" to create a sonic landscape of micro- and macroaggressions, assimilation, and self-doubt. A kaleidoscopic personal essay explores the racial positioning of Asian Americans and the epidemic of anti-Asian hate. Several poems titled "Study of Two Figures" anatomize and dissect the Asian other: Midas the striving, nouveau-riche father; Dr. Seuss and the imaginary daughter Chrysanthemum-Pearl he invented while authoring his anti-Japanese propaganda campaign; Pasiphaë, mother of the minotaur, and Sado, the eighteenth-century Korean prince, both condemned to containers allegorical and actual. From From is an extraordinary collection by a poet whose daring and inventive works are among the most vital in contemporary literature.

A NATIONAL BOOK CRITICS CIRCLE AWARD WINNER * A NEW YORKER ESSENTIAL READ * From "one of the most acute and lasting writers of her generation" (The New York Times)--a ghost story set in the nineteenth and twenty-first centuries, an elegiac consideration of grief, devotion (filial and romantic), and the vanishing and persistence of all things--seen and unseen. A Best Book of the Year: The New Yorker, NPR, Vulture, Lit Hub "Who else but Lorrie Moore could make, in razor-sharp irresistible prose, a ghost story about death buoyant with life?" --PEOPLE "Is it an allegory? Is it real? It doesn't matter...[It's] a novel with big questions, no answers, and it's absolutely brilliant." --Lit Hub "[A] triumph of tone and, ultimately, of the imagination." --The Guardian Lorrie Moore's first novel since A Gate at the Stairs--a daring, meditative exploration of love and death, passion and grief, and what it means to be haunted by the past, both by history and the human heart A teacher visiting his dying brother in the Bronx. A mysterious journal from the nineteenth century stolen from a boarding house. A therapy clown and an assassin, both presumed dead, but perhaps not dead at all... With her distinctive, irresistible wordplay and singular wry humor and wisdom, Lorrie Moore has given us a magic box of longing and surprise as she writes about love and rebirth and the pull towards life. Bold, meditative, theatrical, this new novel is an inventive, poetic portrait of lovers and siblings as it questions the stories we have been told which may or may not be true. I Am Homeless If This Is Not My Home takes us through a trap door, into a windswept, imagined journey to the tragic-comic landscape that is, unmistakably, the world of Lorrie Moore.

Finalist for the 2021 Housatonic Book Award in Poetry "The thin knife that severed your tumor," writes Brooke Matson in these poems, "it cleaves me still." What to do when a world is split--terribly, wholly--by grief? When the loss of the beloved undermines the most stable foundations, the most sacred spaces, of that world? What else but to interrogate the very fundamental principles themselves, all the knowns previously relied on: light, religion, physical matter, time? Often borrowing voices and perspectives from its scientific subjects, In Accelerated Silence investigates the multidimensional nature of grief and its blurring of boundaries--between what is present and what is absent, between what is real and imagined, between the promises of science and the mysteries of human knowing, and between the pain that never ends and the world that refuses to. The grieving and the seeking go on, Matson suggests, but there comes a day when we emerge, "now strong enough / to venture out of doors, thin // and swathed in a robe," only to find it has continued "full and flourishing and larger than before." Sensual and devastating, In Accelerated Silence--selected by Mark Doty as winner of the Jake Adam York Prize--creates an unforgettable portrait of loss full of urgency and heartache and philosophical daring.

Poetry. Asian & Asian American Studies. Winner of the 2021 Off the Grid Poetry Prize. In MORE AMERICAN, poet Sharon Hashimoto reconstructs a collective memory, conjuring the voices of grandparents, children, soldiers, and "those left to tell." In moving detail, these poems convey the realities of assimilation, service, and internment as experienced by Japanese Americans during, and in the decades following, the Second World War. In this stunning second collection, Hashimoto reckons with the limitations of language, and by extension, notions of citizenship. She deftly sounds the dissonances in the language of loyalty and allegiance.

WINNER OF THE NATIONAL BOOK CRITICS CIRCLE AWARD FOR POETRY An iconic figure in the emergence of feminist poetry in South Korea and now internationally renowned, Kim Hyesoon pushes the poetic envelope into the farthest reaches of the lyric universe. In her new collection, Kim depicts the memory of war trauma and the collective grief of parting through what she calls an "I-do-bird-sequence," where "Bird-human is the 'I.'" Her remarkable essay "Bird Rider" explains: "I came to write Phantom Pain Wings after Daddy passed away. I called out for birds endlessly. I wanted to become a translator of bird language. Bird language that flies to places I've never been." What unfolds is an epic sequence of bird ventriloquy exploring the relentless physical and existential struggles against power and gendered violence in "the eternal void of grief" (Victoria Chang, The New York Times Magazine). Through intensely rhythmic lines marked by visual puns and words that crash together and then fly away as one, Kim mixes traditional folklore and mythology with contemporary psychodramatic realities as she taps into a cremation ceremony, the legacies of Rimbaud and Yi Sang, a film by Agnes Varda, Francis Bacon's portrait of Pope Innocent X, cyclones, a princess trapped in a hospital, and more. A simultaneity of voices and identities rises and falls, existing and exiting on their delayed wings of pain.

The Routledge Handbook of Properties is an outstanding reference source to this perennial topic and is the first major volume of its kind. Essential reading for anyone studying and researching metaphysics, metametaphysics, and ontology.

An "extraordinary, ambitious" (The Times UK) novel that masterfully explores what constitutes a meaningful life in a violent world--from the award-winning author of Open City New York Times Book Review Editors' Choice * "Cole's mind is so agile that it's easy to follow him anywhere."--The New Yorker WINNER OF THE ANISFIELD-WOLF BOOK AWARD * FINALIST FOR THE NATIONAL BOOK CRITICS CIRCLE AWARD * A BEST BOOK OF THE YEAR: Time, The Washington Post, Financial Times, Vulture, Chicago Public Library, Publishers Weekly, Library Journal Life is hopeless but it is not serious. We have to have danced while we could and, later, to have danced again in the telling. A weekend spent antiquing is shadowed by the colonial atrocities that occurred on that land. A walk at dusk is interrupted by casual racism. A loving marriage is riven by mysterious tensions. And a remarkable cascade of voices speaks out from a pulsing metropolis. We're invited to experience these events and others through the eyes and ears of Tunde, a West African man working as a teacher of photography on a renowned New England campus. He is a reader, a listener, a traveler, drawn to many different kinds of stories: stories from history and epic; stories of friends, family, and strangers; stories found in books and films. Together these stories make up his days. In aggregate these days comprise a life. Tremor is a startling work of realism and invention that engages brilliantly with literature, music, race, and history as it examines the passage of time and how we mark it. It is a reckoning with human survival amidst "history's own brutality, which refuses symmetries and seldom consoles," but it is also a testament to the possibility of joy. As he did in his magnificent debut Open City, Teju Cole once again offers narration with all its senses alert, a surprising and deeply essential work from a beacon of contemporary literature.

We Had Our Reasons is a collection of poems created by Ricardo Ruiz in collaboration with other members of his Mexican farm community in Eastern Washington. The poems, vivid and pointed, guide the reader through the thoughts and struggles that come with the decision to leave one's home in Mexico, and travel to this remote, rural community of the United States. Through the book access is provided to readers; stories that have gone untold for generations are now shared, evoking conversation at home and within the community due to the commonality of experiences. A glimpse into the multi-generational effects of migration is seen through the recounting of the stories of both parents and their children - both documented and undocumented. Ricardo's raw and unapologetic style cuts right into the emotions of each moment divulged in short, punching, powerful pieces. Biographies and transcripts follow the poems, showcasing the origins of the stories and the people in the book. The book, from Pulley Press, is created with a documentary method, a poetry "pulley." A pulley can assist in shifting and moving objects. It allows a clothesline to spin across its wheel and shuttle clothes into the sun. A "poetry pulley" is the mechanism that a publisher might use to reel in the poems made by rural poets with their friends, neighbors, co-workers, and family, and then glide these poems into the hands of readers.

Winner of the 2023 National Book Critics Circle for Nonfiction and the Los Angeles Times Book Prize A Washington Post best nonfiction book of 2023 | Winner of the Carnegie Medal for Excellence in Nonfiction "A riveting indictment of the child welfare system . . . [A] bracing gut punch of a book." --Robert Kolker, The Washington Post "[A] moving and superbly reported book." --Jessica Winter, The New Yorker "A harrowing account . . . [and] a powerful critique of [the] foster care system . . . We Were Once a Family is a wrenching book." --Jennifer Szalai, The New York Times A New York Times Book Review Editors' Choice | One of Publishers Weekly's best nonfiction books of 2023 The shocking, deeply reported story of a murder-suicide that claimed the lives of six children--and a searing indictment of the American foster care system. On March 26, 2018, rescue workers discovered a crumpled SUV and the bodies of two women and multiple children at the bottom of a cliff along the Pacific Coast Highway. Investigators soon concluded that the crash was a murder-suicide, but there was more to the story: Jennifer and Sarah Hart, it turned out, were a white married couple who had adopted six Black children from two different Texas families in 2006 and 2008. Behind the family's loving facade was an alleged pattern of abuse and neglect that had been ignored as the couple withdrew the children from school and moved west. It soon became apparent that the State of Texas knew all too little about the two individuals to whom it had given custody of six children. Immersive journalism of the highest order, Roxanna Asgarian's We Were Once a Family is a revelation of precarious lives; it is also a shattering exposé of the foster care and adoption systems that produced this tragedy. As a journalist in Houston, Asgarian sought out the children's birth families and put them at the center of the story. We follow the lives of the Harts' adopted children and their birth parents, and the machinations of the state agency that sent the children far away. Asgarian's reporting uncovers persistent racial biases and corruption as young people of color are separated from birth parents without proper cause. The result is a riveting narrative and a deeply reported indictment of a system that continues to fail America's most vulnerable children while upending the lives of their families.

With an unwavering ascendancy of the austere, Thom Caraway's What the Sky Lacks explores the negative capability of uncertainties and mysteries in a landscape of ruthless severity and elusive beauty, "a world built of unknown language." While witnessing the stark refuge of cottonwood shelterbelts on a field's ragged periphery, listening to the tender weight of empty freight cars rolling through the night, or recounting the dream of a wrecker wherein human warmth exists only in the transient sounds of strangers, a soul transforms into "an instrument of pure light, a circular machine of illumination." The spiritual discipline of recognizing beauty in a world of desolation emerges sheer, unadorned as the rugged territories in the northern badlands obliterated by merciless blizzards, unburnished yet dazzlingly beatific in wintry ruminations of a faith weathered out of wreckage. Instead of hungering for uneasy solace, this enduring poet vows, "We'll rename the world." (Karen An-hwei Lee)

United States Poet Laureate Joy Harjo gathers the work of more than 160 poets, representing nearly 100 indigenous nations, into one momentous volume. This landmark anthology celebrates the indigenous peoples of North America, the first poets of this country, whose literary traditions stretch back centuries. Opening with a blessing from Pulitzer Prize winner N. Scott Momaday, the book contains powerful introductions from contributing editors who represent the five geographically organized sections. Each section begins with a poem from the massive libraries of oral literatures and closes with emerging poets, ranging from Eleazar, a seventeenth-century Native student at Harvard, to Jake Skeets, a young Dinéh poet born in 1991, and including renowned writers such as Natalie Diaz, Tommy Pico, Layli Long Soldier, and Ray Young Bear. In When the Light of the World Was Subdued, Our Songs Came Through, Harjo offers the extraordinary sweep of Native literature.

A NATIONAL BOOK CRITICS CIRCLE AWARD FINALIST * AN LA TIMES BOOK PRIZE FINALIST * A WASHINGTON POST AND NEW YORKER BEST BOOK OF THE YEAR * A deeply researched, shattering new account of Nelson Mandela's relationship with Winnie Madikizela-Mandela that "does justice both to the couple's political heroism and to the betrayals and the secrets that hounded their union" (The New Yorker). Drawing on never-before-seen material, Steinberg--one of South Africa's foremost nonfiction writers--reveals the fractures and stubborn bonds at the heart of a volatile and groundbreaking union, a very modern political marriage that played out on the world stage. "Powerful, intimate." --The Washington Post One of the most celebrated political leaders of a century, Nelson Mandela has been written about by many biographers and historians. But in one crucial area, his life remains largely untold: his marriage to Winnie Madikizela-Mandela. During his years in prison, Nelson grew ever more in love with an idealized version of his wife, courting her in his letters as if they were young lovers frozen in time. But Winnie, every bit his political equal, found herself increasingly estranged from her jailed husband's politics. Behind his back, she was trying to orchestrate an armed seizure of power, a path he feared would lead to an endless civil war. Jonny Steinberg tells the tale of this unique marriage--its longings, its obsessions, its deceits--making South African history a page-turning political biography. Winnie and Nelson is a modern epic in which trauma doesn't affect just the couple at its center, but an entire nation. It is also a Shakespearean drama in which bonds of love and commitment mingle with timeless questions of revolution, such as whether to seek retribution or a negotiated peace. Steinberg reveals, with power and tender emotional insight, how far these forever-entwined leaders would go for each other and where they drew the line. For in the end, both knew theirs was not simply a marriage, but a contest to decide how apartheid should be fought.

The revolution in military recruitment advertising to people of color and women played an essential role in making the US military one of the most diverse institutions in the United States. Starting at the dawn of the all-volunteer era, Jeremiah Favara illuminates the challenges at the heart of military inclusion by analyzing recruitment ads published in three commercial magazines: Sports Illustrated, Cosmopolitan, and Ebony. Favara draws on Black feminism, critical race theory, and queer of color critique to reveal how the military and advertisers affected change by deploying a set of strategies and practices called tactical inclusion. As Favara shows, tactical inclusion used representations of servicemembers in the new military to connect with people susceptible to recruiting efforts and rendered these new audiences vulnerable to, valuable to, and subject to state violence. Compelling and eye-opening, Tactical Inclusion combines original analysis with personal experience to chart advertising's role in building the all-volunteer military.

The third edition of Ancient Cities surveys the cities of the Ancient Near East, Egypt, and the Greek, Etruscan, and Roman worlds from the perspectives of archaeology and architectural history, bringing to life the physical world of ancient city dwellers by concentrating on archaeological evidence. Urban form is the focus: the physical appearance and overall plans of cities, their architecture and natural topography, and the cultural and historical contexts in which they flourished. Attention is also paid to non-urban features such as religious sanctuaries and burial grounds, places and institutions that were a familiar part of the city dweller's experience. Objects or artifacts that furnished everyday life are discussed, such as writing systems, pottery, sculpture, wall paintings, mosaics, and coins. Ancient Cities is unusual in presenting this wide range of Old World cultures in such comprehensive detail, giving equal weight to the Preclassical and Classical periods, and in showing the links between these ancient cultures. In this new edition, in which Andrew Goldman has joined Charles Gates in updating the volume, readers and lecturers will be delighted to see a major revision of the chapters on Greek cities in South Italy and Sicily, the Etruscans, the development of the capital city, Rome, during the Republic as well as the Empire, and the end of the ancient city. This new edition includes several new and updated user-friendly features, such as: Clear and accessible language, assuming no previous background knowledge Lavishly illustrated, with almost 350 line drawings, maps, and photographs, including new contributions from Neslihan Yılmaz Tekman adding to her already acclaimed illustrations Suggestions for further reading for each chapter A companion website with images, study guides, and an interactive timeline. With its comprehensive presentation of ancient Mediterranean and Near Eastern cities, its rich collection of illustrations, and its companion website, Ancient Cities remains an essential textbook for university and high school students across a wide range of archaeology, ancient history, and ancient Near Eastern, Biblical, and Classical Studies courses.

A pathbreaking look at Native women of the early South who defined power and defied authority   "An artful, powerful book. . . . [A] substantial contribution to our knowledge of women in the so-called 'forgotten centuries' of European colonialism in the southeast."--Malinda Maynor Lowery, author of The Lumbee Indians   "A remarkable book. Alejandra Dubcovsky pursued relentless research to uncover the histories of women previously unseen, even unnamed. As Dubcovsky shows, they had names, they had families, they had lives that mattered. The historical landscape is transformed by their presence."--Lisa Brooks, author of Our Beloved Kin   Historian Alejandra Dubcovsky tells a story of war, slavery, loss, remembrance, and the women whose resilience and resistance transformed the colonial South. In exploring their lives she rewrites early American history, challenging the established male-centered narrative.   Dubcovsky reconstructs the lives of Native women--Timucua, Apalachee, Chacato, and Guale--to show how they made claims to protect their livelihoods, bodies, and families. Through the stories of the Native cacica who demanded her authority be recognized; the elite Spanish woman who turned her dowry and household into a source of independent power; the Floridiana who slapped a leading Native man in the town square; and the Black woman who ran a successful business at the heart of a Spanish town, Dubcovsky reveals the formidable women who claimed and used their power, shaping the history of the early South.

In April 1983, a dynamic, multiracial political coalition did the unthinkable, electing Harold Washington as the first Black mayor of Chicago. Washington's victory was unlikely not just because America's second city was one of the nation's most racially balkanized but also because it came at a time when Ronald Reagan and other political conservatives seemed resurgent. Washington's initial win and reelection in 1987 established the charismatic politician as a folk hero. It also bolstered hope among Democrats that the party could win elections by pulling together multiracial urban voters around progressive causes. Yet what could be called the Washington era revealed clear limits to electoral politics and racial coalition building when decoupled from neighborhood-based movement organizing. Drawing on a rich array of archives and oral history interviews, Gordon K. Mantler offers a bold reexamination of the Harold Washington movement and moment. Taking readers into Chicago's street-level politics and the often tense relationships among communities and their organizers, Mantler shows how white supremacy, deindustrialization, dysfunction, and voters' own contradictory expectations stubbornly impeded many of Washington's proposed reforms. Ultimately, Washington's historic victory and the thwarted ambitions of his administration provide a cautionary tale about the peril of placing too much weight on electoral politics above other forms of civic action--a lesson today's activists would do well to heed.

A powerful analysis of how regulation of the movement of enslaved and free black people produced a national immigration policy in the period between the American Revolution and the end of Reconstruction. Today the United States considers immigration a federal matter. Yet, despite America's reputation as a "nation of immigrants," the Constitution is silent on the admission, exclusion, and expulsion of foreigners. Before the Civil War, the federal government played virtually no role in regulating immigration, and states set their own terms for regulating the movement of immigrants, free blacks, and enslaved people. Insisting that it was their right and their obligation to protect the public health and safety, states passed their own laws prohibiting the arrival of foreign convicts, requiring shipmasters to post bonds or pay taxes for passengers who might become public charges, ordering the deportation of immigrant paupers, quarantining passengers who carried contagious diseases, excluding or expelling free blacks, and imprisoning black sailors. To the extent that these laws affected foreigners, they comprised the immigration policy of the United States. Offering an original interpretation of nineteenth-century America, The Problem of Immigration in a Slaveholding Republic argues that the existence, abolition, and legacies of slavery were central to the emergence of a national immigration policy. In the century after the American Revolution, states controlled mobility within and across their borders and set their own rules for community membership. Throughout the antebellum era, defenders of slavery feared that, if Congress gained control over immigration, it could also regulate the movement of free black people and the interstate slave trade. The Civil War and the abolition of slavery removed the political and constitutional obstacles to a national immigration policy, which was first directed at Chinese immigrants. Admission remained the norm for Europeans, but Chinese laborers were excluded through techniques of registration, punishment, and deportation first used against free black people in the antebellum South. To justify these measures, the Supreme Court ruled that immigration authority was inherent in national sovereignty and required no constitutional justification. The federal government continues to control admissions and exclusions today, while some states monitor and punish immigrants, and others offer sanctuary and refuse to act as agents of federal law enforcement. By revealing the tangled origins of border control, incarceration, and deportation, distinguished historian Kevin Kenny sheds light on the history of race and belonging in America, as well as the ongoing tensions between state and federal authority over immigration.

A powerful and inspiring biography of Merze Tate, a trailblazing Black woman scholar and intrepid world traveler   Born in rural Michigan during the Jim Crow era, the bold and irrepressible Merze Tate (1905-1996) refused to limit her intellectual ambitions, despite living in what she called a "sex and race discriminating world." Against all odds, the brilliant and hardworking Tate earned degrees in international relations from Oxford University in 1935 and a doctorate in government from Harvard in 1941. She then joined the faculty of Howard University, where she taught for three decades of her long life spanning the tumultuous twentieth century.   This book revives and critiques Tate's prolific and prescient body of scholarship, with topics ranging from nuclear arms limitations to race and imperialism in India, Asia, the Pacific, and Africa. Tate credited her success to other women, Black and white, who helped her realize her dream of becoming a scholar. Her quest for research and adventure took her around the world twice, traveling solo with her cameras.   Barbara Savage's skilled rendering of Tate's story is built on more than a decade of research. Tate's life and work challenge provincial approaches to African American and American history, women's history, the history of education, diplomatic history, and international thought.

Race, Labor, and Violence in the Delta examines the history of labor relations and racial conflict in the Mississippi Valley from the Civil War into the late twentieth century. This essay collection grew out of a conference marking the hundredth anniversary of one of the nation's deadliest labor conflicts--the 1919 Elaine Massacre, during which white mobs ruthlessly slaughtered over two hundred African Americans across Phillips County, Arkansas, in response to a meeting of unionized Black sharecroppers. The essays here demonstrate that the brutality that unfolded in Phillips County was characteristic of the culture of race- and labor-based violence that prevailed in the century after the Civil War. They detail how Delta landowners began seeking cheap labor as soon as the slave system ended--securing a workforce by inflicting racial terror, eroding the Reconstruction Amendments in the courts, and obstructing federal financial-relief efforts. The result was a system of peonage that continued to exploit Blacks and poor whites for their labor, sometimes fatally. In response, laborers devised their own methods for sustaining themselves and their communities: forming unions, calling strikes, relocating, and occasionally operating outside the law. By shedding light on the broader context of the Elaine Massacre, Race, Labor, and Violence in the Delta reveals that the fight against white supremacy in the Delta was necessarily a fight for better working conditions, fair labor practices, and economic justice.