Making music offers enormous possibilities--and faces significant limitations--in its power to generate belonging and advance social justice. Tony Perman and Stefan Fiol edit essays focused on the forms of interplay between music-making and community-making as mutually creative processes. Contributors in the first section look at cases where music arrived in settings with little or no sense of community and formed social bonds that lasted beyond its departure. In the sections that follow, the essayists turn to stable communities that used musical forms to address social needs and both forged new social groups and, in some cases, splintered established communities. By centering the value of difference in productive feedback dynamics of music and community while asserting the need for mutual moral indebtedness, they foreground music’s potential to transform community for the better.

Contributors: Stephen Blum, Joanna Bosse, Sylvia Bruinders, Donna A. Buchanan, Rick Deja, Veit Erlmann, Stefan Fiol, Eduardo Herrera, David A. McDonald, Tony Perman, Thomas Solomon, and Ioannis Tsekouras

The second part of each chapter presents the discography. Information here includes the session’s place, date, time, and producer; master/matrix numbers, song/tune titles, composer credits, personnel, instruments, and vocals; and catalog/release numbers and reissue data.

The only complete bio-discography of this American musical icon, The Music of Bill Monroe is the starting point for any study of Monroe’s contributions as a composer, interpreter, and performer.

Here is the most comprehensive history of Brazilian music available in English. Concise yet remarkably detailed, it provides professional musicologists and music lovers alike with a clear outline of the major trends, important composers, and currents of thought that have shaped the folk, popular, and art music that are an important part of Brazil's unique cultural heritage.

The Music of Brazil contains over seventy musical examples representing musical idiom and form throughout recent history. A useful glossary introduces the reader to the key terms of Brazilian music, from agogô—a percussion instrument composed of two bells—to xocalho—a wooden or metal rattler.

Volume 1, Contexts and Paradigms, chronologically surveys Tenney's creative development and output. Wannamaker begins each section with biographical, aesthetic, and technical context that illuminates a distinct period in Tenney's career. From there, he analyzes a small number of pieces that illuminate the concerns, characteristics, and techniques that emerged in Tenney's music during that time. Wannamaker supplements the text with musical examples, graphs, and diagrams while also drawing on unpublished material and newly available primary sources to flesh out each work and the ideas that shaped it.

A landmark in experimental music scholarship, The Music of James Tenney is a first-of-its-kind consideration of the experimental music titan and his work.  

Written as a reference work, Volume 2, A Handbook to the Pieces, presents detailed entries on Tenney's significant post-1959 experimental works (excepting pieces covered in volume 1). Wannamaker includes technical information, an analysis of intentions and goals, graphs and musical examples, historical and biographical context, and thoughts from Tenney and others on specific works. Throughout, he discusses the striking compositional ideas found in Tenney's music and, where appropriate, traces an idea's appearance from one piece to the next to reveal the evolution of the composer's art and thought.

A landmark in experimental music scholarship, The Music of James Tenney is a first-of-its-kind consideration of the experimental music titan and his work.

Monumental and indispensable, The Music of the Stanley Brothers provides fans and scholars alike with a guide for immersion in the long career and breathtaking repertoire of two legendary American musicians.

“Essential Vendler.”
—Chicago Tribune

A leading partisan of close reading defends aesthetics as the beating heart of criticism.

The late 1970s and early 1980s witnessed a sea change in literary criticism. As deconstruction, Marxism, feminism, and other currents dethroned the New Criticism in the American academy, those who held fast to formalist approaches appeared increasingly outmoded. Critics, as Helen Vendler put it, had been “put on notice” by literary theory.

Fortunately, Vendler was up to the challenge. The essays and reviews collected in The Music of What Happens make a defiantly unfashionable case for her stalwart aestheticism. According to Vendler, the critic’s job is neither to interpret the poem, uncovering the secret meaning lurking beneath its surfaces, nor to unmask its ideological underpinnings, but to describe how the interplay of form and signification creates a unique and cohesive aesthetic experience. Good criticism illuminates the qualities that make each poem unlike any other: it explains not only what happens in the text but also, as Seamus Heaney once wrote, “the music of what happens.”

Including magisterial assessments of her fellow critics and literary theorists, from Roland Barthes and Geoffrey Hartman to Harold Bloom and Lionel Trilling, as well as characteristically acute appraisals of a wide range of contemporary and canonical poets, The Music of What Happens shows the rich dividends that accrue when we treat literature as a fine art like painting or sculpture rather than a discourse to be decoded and evaluated in social and historical terms. Above all, we become more attuned to the pleasures of reading—and even the pleasures of criticism itself.

“Essential Vendler.”
—Chicago Tribune

A leading partisan of close reading defends aesthetics as the beating heart of criticism.

The late 1970s and early 1980s witnessed a sea change in literary criticism. As deconstruction, Marxism, feminism, and other currents dethroned the New Criticism in the American academy, those who held fast to formalist approaches appeared increasingly outmoded. Critics, as Helen Vendler put it, had been “put on notice” by literary theory.

Fortunately, Vendler was up to the challenge. The essays and reviews collected in The Music of What Happens make a defiantly unfashionable case for her stalwart aestheticism. According to Vendler, the critic’s job is neither to interpret the poem, uncovering the secret meaning lurking beneath its surfaces, nor to unmask its ideological underpinnings, but to describe how the interplay of form and signification creates a unique and cohesive aesthetic experience. Good criticism illuminates the qualities that make each poem unlike any other: it explains not only what happens in the text but also, as Seamus Heaney once wrote, “the music of what happens.”

Including magisterial assessments of her fellow critics and literary theorists, from Roland Barthes and Geoffrey Hartman to Harold Bloom and Lionel Trilling, as well as characteristically acute appraisals of a wide range of contemporary and canonical poets, The Music of What Happens shows the rich dividends that accrue when we treat literature as a fine art like painting or sculpture rather than a discourse to be decoded and evaluated in social and historical terms. Above all, we become more attuned to the pleasures of reading—and even the pleasures of criticism itself.

Tracing the connections between music making and built space in both historical and contemporary times, Music, Sound, and Architecture in Islam brings together domains of intellectual reflection that have rarely been in dialogue to promote a greater understanding of the centrality of sound production in constructed environments in Muslim religious and cultural expression.

Representing the fields of ethnomusicology, anthropology, art history, architecture, history of architecture, religious studies, and Islamic studies, the volume’s contributors consider sonic performances ranging from poetry recitation to art, folk, popular, and ritual musics—as well as religious expressions that are not usually labeled as “music” from an Islamic perspective—in relation to monumental, vernacular, ephemeral, and landscape architectures; interior design; decoration and furniture; urban planning; and geography. Underscoring the intimate relationship between traditional Muslim sonic performances, such as the recitation of the Qur’an or devotional songs, and conventional Muslim architectural spaces, from mosques and Sufi shrines to historic aristocratic villas, gardens, and gymnasiums, the book reveals Islam as an ideal site for investigating the relationship between sound and architecture, which in turn proves to be an innovative and significant angle from which to explore Muslim cultures.

Contributors are Stephen Blum, Patricia Shehan Campbell, Sabine M. Feisst, Lawrence Gushee, Robert S. Hatten, William Kinderman, Natalie Kononenko, Robert Levin, Charlotte Mattax Moersch, Ingrid Monson, John P. Murphy, Bruno Nettl, A. Jihad Racy, Anne K. Rasmussen, Stephen Slawek, Gabriel Solis, Nicholas Temperley, John Toenjes, and Thomas Turino.

Composers featured: Michael Abels, H. Leslie Adams, Lettie Beckon Alston, Thomas J. Anderson, Dwight Andrews, Regina Harris Baiocchi, David Baker, William C. Banfield, Ysaye Maria Barnwell, Billy Childs, Noel DaCosta, Anthony Davis, George Duke, Leslie Dunner, Donal Fox, Adolphus Hailstork, Jester Hairston, Herbie Hancock, Jonathan Holland, Anthony Kelley, Wendell Logan, Bobby McFerrin, Dorothy Rudd Moore, Jeffrey Mumford, Gary Powell Nash, Stephen Newby, Coleridge-Taylor Perkinson, Michael Powell, Patrice Rushen, George Russell, Kevin Scott, Evelyn Simpson-Curenton, Hale Smith, Billy Taylor, Frederick C. Tillis, George Walker, James Kimo Williams, Julius Williams, Tony Williams, Olly Wilson, and Michael Woods

On the Zócalo, the main square of Mexico City, Mexico's entire musical history is performed every day. "Mexica" percussionists drum and dance to the music of Aztec rituals on the open plaza. Inside the Metropolitan Cathedral, choristers sing colonial villancicos. Outside the National Palace, the Mexican army marching band plays the "Himno Nacional," a vestige of the nineteenth century. And all around the square, people listen to the contemporary sounds of pop, rock, and música grupera. In all, some seven centuries of music maintain a living presence in the modern city.

This book offers an up-to-date, comprehensive history and ethnography of musical rituals in the world's largest city. Mark Pedelty details the dominant musical rites of the Aztec, colonial, national, revolutionary, modern, and contemporary eras, analyzing the role that musical ritual played in governance, resistance, and social change. His approach is twofold. Historical chapters describe the rituals and their functions, while ethnographic chapters explore how these musical forms continue to resonate in contemporary Mexican society. As a whole, the book provides a living record of cultural continuity, change, and vitality.

A Foreign Affairs Best Book of the Year

In the century since the Muslim Brotherhood first emerged in Egypt, its idea of “the West” has remained a key driver of its behavior. From its founding, the Brotherhood stood opposed to the British Empire and Western cultural influence. Its leaders hoped to create more pristine, authentically Islamic societies. As British power gave way to American, the Brotherhood oscillated between anxiety about the West and the need to engage with it, while American and British officials struggled to understand the group, unsure whether to shun or embrace it.

The Muslim Brotherhood and the West offers the first comprehensive history of the relationship between the world’s largest Islamist movement and the powers that have dominated the Middle East for the past hundred years. Drawing on extensive archival research in London and Washington and the Brotherhood’s writings in Arabic and English, Martyn Frampton reveals the history of this charged relationship down to the eve of the Arab Spring. What emerges is an authoritative account of a story that is crucial to understanding one of the world’s most turbulent regions.

“Rigorous yet absorbing…Fills a crucial gap in the literature and will be essential reading not just for scholars, but for anyone seeking to understand the ever-problematic relationship between religion and politics in today’s Middle East.”
—Financial Times

“Breaks new ground by examining the links between the Egyptian Brotherhood’s relations with Britain and…the United States.”
—Times Literary Supplement

Muslim Cosmopolitanism in the Age of Empire recovers the stories of five Indian Muslim scholars who, in the aftermath of the uprising of 1857, were hunted by British authorities, fled their homes in India for such destinations as Cairo, Mecca, and Istanbul, and became active participants in a flourishing pan-Islamic intellectual network at the cusp of the British and Ottoman empires. Seema Alavi traces this network, born in the age of empire, which became the basis of a global Muslim sensibility—a form of political and cultural affiliation that competes with ideas of nationhood today as it did in the previous century.

By demonstrating that these Muslim networks depended on European empires and that their sensibility was shaped by the West in many subtle ways, Alavi challenges the idea that all pan-Islamic configurations are anti-Western or pro-Caliphate. Indeed, Western imperial hegemony empowered the very inter-Asian Muslim connections that went on to outlive European empires. Diverging from the medieval idea of the umma, this new cosmopolitan community stressed consensus in matters of belief, ritual, and devotion and found inspiration in the liberal reforms then gaining traction in the Ottoman world. Alavi breaks new ground in the writing of nineteenth-century history by engaging equally with the South Asian and Ottoman worlds, and by telling a non-Eurocentric story of global modernity without overlooking the importance of the British Empire.

This work presents in English translation the largest collection ever assembled of the sayings and stories of Jesus in Arabic Islamic literature. In doing so, it traces a tradition of love and reverence for Jesus that has characterized Islamic thought for more than a thousand years. An invaluable resource for the history of religions, the collection documents how one culture, that of Islam, assimilated the towering religious figure of another, that of Christianity. As such, it is a work of great significance for the understanding of both, and of profound implications for modern-day intersectarian relations and ecumenical dialogue.

Tarif Khalidi's introduction and commentaries place the sayings and stories in their historical context, showing how and why this "gospel" arose and the function it served within Muslim devotion. The Jesus that emerges here is a compelling figure of deep and life-giving spirituality. The sayings and stories, some 300 in number and arranged in chronological order, show us how the image of this Jesus evolved throughout a millennium of Islamic history.

From "green" pop and "clean" cinema to halal songs, Islamic soaps, Muslim rap, Islamist fantasy serials, and Suficized music, the performing arts have become popular and potent avenues for Islamic piety movements, politically engaged Islamists, Islamic states, and moderate believers to propagate their religio-ethical beliefs. Muslim Rap, Halal Soaps, and Revolutionary Theater is the first book that explores this vital intersection between artistic production and Islamic discourse in the Muslim world.

The contributors to this volume investigate the historical and structural conditions that impede or facilitate the emergence of a "post-Islamist" cultural sphere. They discuss the development of religious sensibilities among audiences, which increasingly include the well-to-do and the educated young, as well as the emergence of a local and global religious market. At the heart of these essays is an examination of the intersection between cultural politics, performing art, and religion, addressing such questions as where, how, and why pop culture and performing arts have been turned into a religious mission, and whether it is possible to develop a new Islamic aesthetic that is balanced with religious sensibilities. As we read about young Muslims and their quest for a "cool Islam" in music, their struggle to quell their stigmatized status, or the collision of morals and the marketplace in the arts, a vivid, varied new perspective on Muslim culture emerges.

Moderation theory describes the process through which radical political actors develop commitments to electoral competition, political pluralism, human rights, and rule of law and come to prefer negotiation, reconciliation, and electoral politics over provocation, confrontation, and contentious action. Revisiting this theory through an examination of two of the most prominent moderate Islamic political forces in recent history, Muslim Reformers in Iran and Turkey analyzes the gains made and methods implemented by the Reform Front in the Islamic Republic of Iran and the Justice and Development Party in Turkey.

Both of these groups represent Muslim reformers who came into continual conflict with unelected adversaries who attempted to block their reformist agendas. Based on extensive field research in both locales, Muslim Reformers in Iran and Turkey argues that behavioral moderation as practiced by these groups may actually inhibit democratic progress. Political scientist Güneş Murat Tezcür observes that the ability to implement conciliatory tactics, organize electoral parties, and make political compromises impeded democracy when pursued by the Reform Front and the Justice and Development Party. Challenging conventional wisdom, Tezcür's findings have broad implications for the dynamics of democratic progress.

The roster of Muslim superheroes in the comic book medium has grown over the years, as has the complexity of their depictions. Muslim Superheroes tracks the initial absence, reluctant inclusion, tokenistic employment, and then nuanced scripting of Islamic protagonists in the American superhero comic book market and beyond.

This scholarly anthology investigates the ways in which Muslim superhero characters fulfill, counter, or complicate Western stereotypes and navigate popular audience expectations globally, under the looming threat of Islamophobia. The contributors consider assumptions buried in the very notion of a character who is both a superhero and a Muslim with an interdisciplinary and international focus characteristic of both Islamic studies and comics studies scholarship. Muslim Superheroes investigates both intranational American racial formation and international American geopolitics, juxtaposed with social developments outside U.S. borders.

Providing unprecedented depth to the study of Muslim superheroes, this collection analyzes, through a series of close readings and comparative studies, how Muslim and non-Muslim comics creators and critics have produced, reproduced, and represented different conceptions of Islam and Muslimness embodied in the genre characters.

In the eyes of many Westerners, Muslim women are hidden behind a veil of negative stereotypes that portray them as either oppressed, subservient wives and daughters or, more recently, as potential terrorists. Yet many Muslim women defy these stereotypes by taking active roles in their families and communities and working to create a more just society. This book introduces eighteen Muslim women activists from the United States and Canada who have worked in fields from social services, to marital counseling, to political advocacy in order to further social justice within the Muslim community and in the greater North American society.

Each of the activists has written an autobiographical narrative in which she discusses such issues as her personal motivation for doing activism work, her views on the relationship between Islam and women's activism, and the challenges she has faced and overcome, such as patriarchal cultural barriers within the Muslim community or racism and discrimination within the larger society. The women activists are a heterogeneous group, including North American converts to Islam, Muslim immigrants to the United States and Canada, and the daughters of immigrants. Young women at the beginning of their activist lives as well as older women who have achieved regional or national prominence are included. Katherine Bullock's introduction highlights the contributions to society that Muslim women have made since the time of the Prophet Muhammad and sounds a call for contemporary Muslim women to become equal partners in creating and maintaining a just society within and beyond the Muslim community.

Representing diverse cultural viewpoints, Muslim Women in War and Crisis collects an array of original essays that highlight the experiences and perspectives of Muslim women—their dreams and nightmares and their daily struggles—in times of tremendous social upheaval. Analyzing both how Muslim women have been represented and how they represent themselves, the authors draw on primary sources ranging from poetry and diaries to news reports and visual media. Topics include:

• Peacebrokers in Indonesia
• Exploitation in the Islamic Republic of Iran
• Chechen women rebels
• Fundamentalism in Afghanistan, from refugee camps to Kabul
• Memoirs of Bengali Muslim women
• The 7/7 London bombings, British Muslim women, and the media

Also exploring such images in the United States, Spain, the former Yugoslavia, Tunisia, Algeria, Lebanon, and Iraq, this collection offers a chorus of multidimensional voices that counter Islamophobia and destructive clichés. Encompassing the symbolic national and religious identities of Muslim women, this study goes beyond those facets to examine the realities of day-to-day existence in societies that seek scapegoats and do little to defend the victims of hate crimes. Enhancing their scholarly perspectives, many of the contributors (including the editor) have lived through the strife they analyze. This project taps into their firsthand experiences of war and deadly political oppression.

Pakistan, founded less than a decade after a homeland for India’s Muslims was proposed, is both the embodiment of national ambitions fulfilled and, in the eyes of many observers, a failed state. Muslim Zion cuts to the core of the geopolitical paradoxes entangling Pakistan to argue that India’s rival has never been a nation-state in the conventional sense. Pakistan is instead a distinct type of political geography, ungrounded in the historic connections of lands and peoples, whose context is provided by the settler states of the New World but whose closest ideological parallel is the state of Israel.

A year before the 1948 establishment of Israel, Pakistan was founded on a philosophy that accords with Zionism in surprising ways. Faisal Devji understands Zion as a political form rather than a holy land, one that rejects hereditary linkages between ethnicity and soil in favor of membership based on nothing but an idea of belonging. Like Israel, Pakistan came into being through the migration of a minority population, inhabiting a vast subcontinent, who abandoned old lands in which they feared persecution to settle in a new homeland. Just as Israel is the world’s sole Jewish state, Pakistan is the only country to be established in the name of Islam.

Revealing how Pakistan’s troubled present continues to be shaped by its past, Muslim Zion is a penetrating critique of what comes of founding a country on an unresolved desire both to join and reject the world of modern nation-states.

The twenty-first century has been a volatile period for American Muslims. Anti-Muslim hate crimes peaked after September 11, 2001, then increased again dramatically in parallel with the candidacy and presidency of Donald Trump. Yet American Muslims now have unprecedented avenues of influence in US politics. Muslims and US Politics Today explores the various representations of Muslims in American political and civic life, the myriad ways American Muslims are affected by politics, and how American Muslims are engaging political life as individuals and communities.

This integrative volume reaches back to presidential elections after 9/11 (Edward E. Curtis IV), further back to Iranian immigrants after the Iranian Revolution (Mohsen Mostafavi Mobasher), and back even to fundamentals of religious freedom in the United States (Kambiz GhaneaBassiri; Mucahit Bilici). Aspects of anti-Muslim politics and marginalization, as well as mobilization and activism, are covered in essays by Salah D. Hassan, Evelyn Alsultany, Juliane Hammer, Alisa Perkins, and Sally Howell. In a final section on rethinking Muslim politics, Donna Auston and Sylvia Chan-Malik dialogue on Black American Islam and Junaid Rana looks broadly to a global Muslim left. In this critically-timed volume, editor Mohammad Hassan Khalil has drawn together leading scholars to provide a deep look at the rich political history and future of American Muslims.

Tender, plump, and tasty, the blue mussel (Mytiius edulis) is treasured in most of the world's cuisines but strangely ignored in North American cooking. This edible mollusk is naturally abundant on both American coasts and easily cultivated. As over-harvesting makes many other seafoods ever more scarce and expensive, the blue mussel offers an inexpensive and attractive alternative to more costly and wasteful sources of protein. To tempt American palates and draw attention to this remarkably versatile and nutritious seafood, Sarah Hurlburt has written The Mussel Cookbook.

In her entertaining introduction, Hurlburt tells about mussels—how they live, how they saved a bridge from collapsing, why barrels of them appeared in American police stations, how they are farmed in Spain, France, and Holland. Then she offers over a hundred recipes. Whether you are a beginning cook or a devotee of haute cuisine, you will find recipes to match your abilities: simple dishes for the out-of-doors, appetizers, soups and stews, salads, casseroles, main dishes from abroad, and elegant party entrees. From Europe Hurlburt brings back paella, cannelloni, and souffle of mussels, among many others. From Asia come curried and stir-fried mussels as well as the delectable midia dolma. There are a dozen quick-and-easy tricks; there are flamed mussels and mussels Rockefeller. She describes how to clean and freeze mussels, and gives tips on how to use them.

Sarah Hurlburt in collaboration with her husband, Graham, has spent many years learning about the blue mussel. Together they have studied European methods of mussel farming and begun their own experimental Cultivation project in Massachusetts. Ms. Hurlburt's recipes have been featured in the New York Times, the Boston Globe, the Boston Herald American, and Harvard Magazine. Stories about the Hurlburts' adventures with mussels have appeared in the Washington Post, the Cornell Quarterly, and the Marine Fisheries Review. A discussion of their work has appeared in the Congressional Record.

Employing a multi-tiered approach, Emanuele Sica examines the simultaneously conflicting and symbiotic relationship between the French population and Italian soldiers. At the grassroots level, Sica asserts that the cultural proximity between the soldiers and the local population, one-quarter of which was Italian, smoothed the sharp angles of miscommunication and cultural faux-pas at a time of great uncertainty. At the same time, it encouraged a laxness in discipline that manifested as fraternization and black marketeering. Sica's examination of political tensions highlights how French prefects and mayors fought to keep the tatters of sovereignty in the face of military occupation. In addition, he reveals the tense relationship between Fascist civilian authorities eager to fulfil imperial dreams of annexation and army leaders desperate to prevent any action that might provoke French insurrection. Finally, he completes the tableau with detailed accounts of how food shortages and French Resistance attacks brought sterner Italian methods, why the Fascists' attempted "Italianization" of the French border city of Menton failed, and the ways the occupation zone became an unlikely haven for Jews.

Images play a fundamental role in relations among peoples. American and Japanese scholars have been among the foremost students of images in international and intercultural relations. Building on the historiographical achievements in the two countries, these essays aim further to explore aspects of Japanese-American mutual perceptions.

The contributors to this volume provide pieces of a puzzle, authentic but partial elements of a total picture. They examine the sources, ranges, uses (and misuses), and constituencies of images. They propose various ways of studying this extremely elusive subject and show how an examination of American-Japanese perception can contribute to a better understanding of Japanese history and American history. We see instances of misperceptions and misunderstandings, but also a streak of open-mindedness and flexibility in both Japan and the United States.

Although investigations of Hispanic popular culture were approached for decades as part of folklore studies, in recent years scholarly explorations—of lucha libre, telenovelas, comic strips, comedy, baseball, the novela rosa and the detective novel, sci-fi, even advertising—have multiplied. What has been lacking is an overarching canvas that offers context for these studies, focusing on the crucial, framing questions: What is Hispanic pop culture? How does it change over time and from region to region? What is the relationship between highbrow and popular culture in the Hispanic world? Does it make sense to approach the whole Hispanic world as homogenized when understanding Hispanic popular culture? What are the differences between nations, classes, ethnic groups, religious communities, and so on? And what distinguishes Hispanic popular culture in the United States?

In ¡Muy Pop!, Ilan Stavans and Frederick Luis Aldama carry on a sustained, free-flowing, book-length conversation about these questions and more, concentrating on a wide range of pop manifestations and analyzing them at length. In addition to making Hispanic popular culture visible to the first-time reader, ¡Muy Pop! sheds new light on the making and consuming of Hispanic pop culture for academics, specialists, and mainstream critics.

My Brother's Madness is part thriller, part exploration that not only describes the causes, character, and journey of mental illness, but also makes sense of it. It is ultimately a story of our own humanity, and answers the question, Am I my brother's keeper?

Histories of revolutions often focus on military, political, or economic upheavals but sometimes neglect to connect these larger events to the daily lives of "ordinary" people. Yet the peoples' perception that "things are worse than before" can topple revolutionary governments, as shown by the recent defeat of the Sandinista regime in Nicaragua and the governments of Eastern Europe. Providing the kind of prosaic, revealing details that more formal histories have excluded, My Car in Managua offers an objective, often humorous description of the great difficulties and occasional pleasures of life in Nicaragua during the Sandinista revolution.

During a year's work (1985-1986) at the Instituto Centroamericano de Administración de Empresas (INCAE), Forrest Colburn purchased a dilapidated car—and with it an introduction to everyday life in Nicaragua. His discoveries of the length of time required to register the car (approximately six weeks), the impossibility of finding spare parts (except when U.S. dollars were applied to the search), and the fact that "anyone getting into a car in Managua can be charged a small fee [for car watching] by anyone else" all suggest the difficulties most Nicaraguans faced living in a devastated economy.

Drawing on experiences from visits throughout the revolutionary period (1979-1989), Colburn also sheds light on how the Revolution affected social customs and language, gender roles and family relationships, equality and authority, the availability of goods and services, the status of ethnic minorities, and governmental and other institutions. Illustrations by Nicaragua's celebrated political cartoonist Róger Sánchez Flores enliven the lucid text.

We stopped, and we heard the biggest racket you ever heard up in the house.

“What’s the matter, son?”

“Why, Maw and Paw are up there fightin’.”

“Who is your Paw, son?”

“Well, that’s what they are fightin’ over.”

Brimming with ballads, stories, riddles, tall tales, and great good humor, My Curious and Jocular Heroes pays homage to four people who guided and inspired Loyal Jones’s own study of Appalachian culture. His sharp-eyed portraits introduce a new generation to Bascom Lunsford, the pioneer behind the “memory collections” of song and story at Columbia University and the Library of Congress; the Sorbonne-educated collector and performer Josiah H. Combs; Cratis D. Williams, the legendary father of Appalachian studies; and the folklorist and master storyteller Leonard W. Roberts. Throughout, Jones highlights the tales, songs, jokes, and other collected nuggets that define the breadth of each man’s research and repertoire.

“A wonderfully vivid account of the momentous era they lived through, underscoring the chaotic, often improvisatory circumstances that attended the birth of the fledgling nation and the hardships of daily life.”
—Michiko Kakutani, New York Times

In 1762, John Adams penned a flirtatious note to “Miss Adorable,” the 17-year-old Abigail Smith. In 1801, Abigail wrote to wish her husband John a safe journey as he headed home to Quincy after serving as president of the nation he helped create. The letters that span these nearly forty years form the most significant correspondence—and reveal one of the most intriguing and inspiring partnerships—in American history.

As a pivotal player in the American Revolution and the early republic, John had a front-row seat at critical moments in the creation of the United States, from the drafting of the Declaration of Independence to negotiating peace with Great Britain to serving as the first vice president and second president under the U.S. Constitution. Separated more often than they were together during this founding era, John and Abigail shared their lives through letters that each addressed to “My Dearest Friend,” debating ideas and commenting on current events while attending to the concerns of raising their children (including a future president).

Full of keen observations and articulate commentary on world events, these letters are also remarkably intimate. This new collection—including some letters never before published—invites readers to experience the founding of a nation and the partnership of two strong individuals, in their own words. This is history at its most authentic and most engaging.

Cornelia Wadsworth Adair’s ancestors had pioneered in western New York, where they opened and developed large, palatial estates; and the life they lived was elegant and aristocratic. Adair too was discreetly cultured; yet she took great personal pleasure in the rough and primitive land of her famed JA Ranch in north Texas. Because of physical discomfort and noisy passengers, she detested traveling by railroad coach; yet she could ride all day on horseback and lie down to sleep on a makeshift cot by a waterhole or on an Indian’s flea-infested buffalo rug. She was a lady of interesting contradictions.

This little Diary is her lively account of a two-month trip which she and her husband made into the western part of the United States in 1874. The ostensible purpose of the trip was to hunt buffalo; however, these large beasts actually play a very small part in the journal. Rather, the book is an interesting and often amusing account, by an observant woman, of the long journey from her husband’s estate in Ireland to New York, to Chicago and on into upper Michigan, across Lake Superior to Minnesota, down the Mississippi for several days, out to the buffalo-hunting grounds in Nebraska, then to Denver and the wonders of the Rocky Mountains, and finally back to New York and the Europe-bound ship.

Adair writes with an easy fluency; and her eye for picturesque detail, her taste for amusing incongruities, her romanticist’s delight in Nature, and her instinct for a “good tale” combine to make her Diary pleasant and entertaining reading, while her powers of keen observation provide valuable insight into life as it was then in the West. First printed for private circulation in 1918, the original book is now a rare collector’s item of Western Americana. Mrs. Adair said that she was allowing its publication for two reasons. First, she was afraid that her grandchildren and young friends would remember her only as “an old lady who sat in an armchair, and whose stick had to be looked for”; she wanted them to know that she had once been “a very lively person . . . [who] did all sorts of exciting things.” Second, she felt it worthwhile to record her experiences because “the world is changing so quickly, ways of travelling especially so . . . and I think it may be interesting to compare what was done in 1874 with what will be done by the time the children are able to travel. No doubt they will do their journeys by air, and do many, many things that I have not been able to do; but they can never see the prairies of America in their wild uncivilised state, or hunt buffalo over them, nor can they pow-wow with the Red Indians in a camp on the Platte River. So every time has its own special joys, and the great thing is to miss as little as possible, and to share as much.”

Almost a century and a half went into the making of My Eighty Years in Texas. It began as a diary, kept by fifteen-year-old William Physick Zuber after he joined Sam Houston’s Texas army in 1836, hoping he could emulate the heroism of American Revolutionary patriots. Although his hopes were never realized, Zuber recorded the privations, victories, and defeats of armies on the move during the Texas Revolution, the Indian campaigns, and, as he styled it, the Confederate War.

In 1910, at the age of ninety, Zuber began the enormous task of transcribing his diaries and his memories for publication. After his death in 1913, the handwritten manuscript, 1, was placed in the Texas State Archives, where it was used as a reference source by students and scholars of Texas history. Over a half century after Zuber’s death, Janis Boyle Mayfield finally brought his publication plans to fruition.

Zuber details his early zest for learning and his laborious methods of self-education. He tells of the trials of organizing and teaching schools in the sparsely populated plains. He recalls the day-by-day happenings of a private soldier in the Texas army of 1836, the Texas Militia, and the Confederate army—including the mishaps of army life and the encounters with enemies from San Jacinto to Cape Girardeau. After the Civil War, his interest turns to the politics of Reconstruction, the veterans’ pension, and the founding of the Texas Veterans Association.

This is the story of and by an outspoken Texian, complete with his attitudes, principles, and moralizings, and the nineteenth-century style and flavor of his writing.

Included as an appendix is “An Escape from the Alamo,” the account of Moses Rose for which Zuber, who was a prolific writer, was best known. A historiography of the Rose story, a bibliography of Zuber’s published and unpublished writings, annotation, and an introduction are provided by Llerena Friend.

How Barbara Jordan used sacred and secular scriptures in her social activism

US Congresswoman Barbara Jordan is well-known as an interpreter and defender of the Constitution, particularly through her landmark speech during Richard Nixon’s 1974 impeachment hearings. However, before she developed faith in the Constitution, Jordan had faith in Christianity. In “My Faith in the Constitution is Whole”: Barbara Jordan and the Politics of Scripture, Robin L. Owens shows how Jordan turned her religious faith and her faith in the Constitution into a powerful civil religious expression of her social activism.

Owens begins by examining the lives and work of the nineteenth-century Black female orator-activists Maria W. Stewart and Anna Julia Cooper. Stewart and Cooper fought for emancipation and women’s rights by “scripturalizing,” or using religious scriptures to engage in political debate. Owens then demonstrates how Jordan built upon this tradition by treating the Constitution as an American “scripture” to advocate for racial justice and gender equality. Case studies of key speeches throughout Jordan’s career show how she quoted the Constitution and other founding documents as sacred texts, used them as sociolinguistic resources, and employed a discursive rhetorical strategy of indirection known as “signifying on scriptures.”

Jordan’s particular use of the Constitution—deeply connected with her background and religious, racial, and gender identity—represents the agency and power reflected in her speeches. Jordan’s strategies also illustrate a broader phenomenon of scripturalization outside of institutional religion and its rhetorical and interpretive possibilities.

My Father Said Yes is the untold story of the Reverend Dunbar Ogden, who became the pro-integration leader in Little Rock's white community. He responded to a call for support from Daisy Bates, co-owner of the town's black newspaper. Both faced fierce opposition from within as well as from outside. Reverend Ogden lost his church and Daisy Bates lost her newspaper.

This memoir is also a moving father-son story. In this frank account, the author discusses the depression his father battled for most of his life, as well as the family tragedy of his brother's suicide.

Gaza is the frontline in the conflict between Israel and the Palestinians and rarely out of the news, this book explores the daily lives of the people in the region, giving us an insight into what is at risk in each round of violence.

Ramzy Baroud tells his father's fascinating story. Driven out of his village to a refugee camp, he took up arms and fought the occupation at the same time raising a family and trying to do the best for his children. Baroud's vivid and honest account reveals the complex human beings; revolutionaries, great moms and dads, lovers, and comedians that make Gaza so much more than just a disputed territory.

“Lots of Romanians, in my day, dreamed of France; not many got there,” writes the author in his introduction. “Fortuitousness, contingency, and sheer good luck made me fall into France, just as one falls into love.” Fifty years after reaching France, by way of school in England, Eugen Weber presents a series of illuminations on the country he loves, and whose civilization he has made the center of his life's work as an interpreter of European history, subspecialty France.

My France focuses on some of the most intriguing aspects of French life: polities, myths, personalities, public problems, actions, conflicts. The topics Weber treats range from sports to religion, and include comments on folklore, peasant politicization, national socialism, the nature of the French right, antisemitism, and famous Frenchmen such as Pierre de Coubertin, Maurice Barres, and Marc Bloch. In every chapter he questions established assumptions, asks if things are quite as they are taken to be, and points out links between apparently unrelated doings (literature and private income, religion and superstition, fairy tales and everyday life). Every essay reflects his unique insight and is enlivened by his witty and graceful style, making My France irresistible not only to students of modern European history, but also to Francophiles and pundits of Europe everywhere.

Winner of FC2’s Ronald Sukenick Innovative Fiction Prize

Meditations on the ways grief is felt and harvested—the funny, the sorrowful, the surreal, and the unmentionable

The stories in My Haunted Home delve in startling ways into the lives of the obsessed, the grieving, and the truly haunted. Victoria Hood conjures a shifting range of narrators through an unstable range of worlds where mothers might be dead, girls compulsively shove peanuts inside their ears, agoraphobia traps people inside their houses, and cats won’t eat your soup. In “The Teeth, the Way I Smile,” a daughter who looks like her dead mother manifests grief both in her house and her body. In “Smelly Smelly,” a woman slowly comes to realize her boyfriend has been dead for weeks. In “You, Your Fault,” we explore the unfolding love of two women who love every part of each other—including the parts that fixate on arson and murder.

Each story is a bite-size piece of haunting candy on a necklace of obsession holding them together. Hood probes the worlds of what can be haunted, unpacking the ways in which hauntings can be manifested in physical forms, mentally harvested and lived through, and even a change in what is haunting.
 

My Heart Became a Bomb is the first collection of poetry by Syrian-Palestinian poet Ramy al-Asheq to be translated into English. Poignant and raw, these poems take the reader along a path of forced emigration from Bashar al-Assad’s prisons in Syria to Amsterdam to Auschwitz to Berlin, Germany, where Al-Asheq is now creating a new home. By turns melancholy and reflective, celebratory and hopeful, Al-Asheq’s newly translated poems offer the English-reading audience a contemporary perspective on the experience of exile in a world facing the phenomeno of mass migration, whether for political or environmental reasons. The translations are the result of a long collaboration between Al-Asheq and Thompson (who also edited this collection). Raising questions about the nature of love, identity, and the role of poetry in the face of constant flux and great uncertainty, My Heart Became a Bomb introduces an important new voice to the world of contemporary poetry.

    "I am willing to relate all I can remember, but I wish it clearly understood that it must be in my own way,  and at my own time.  I will not be hurried or dictated to.  It is my history and not yours I propose to tell.”—Mariano Guadelupe Vallejo, on “Recuerdos históricos y personales”  (1875)
    My History, Not Yours is a landmark study of the autobiographical writings of Mexican Americans in the century following the US-Mexican War of 1846-1848.  Some 75,000 inhabitants of what is now Texas, New Mexico, Arizona, Nevada, and California were suddenly foreigners on their own lands.  Faced with the deliberate obliteration of their history, culture, language, and personal experiences, these women and men set down the stories of their lives and their communities, as a means of both remembering and resisting.
    Genaro M. Padilla and other scholars have begun to uncover the huge store of literary materials forgotten in manuscript archives:  memoirs long out of print, others unpublished and unread, diaries, family histories, poetry, correspondence, and texts of corridos (ballads).  Padilla writes, “Lives are scattered on broken pages, faded, partially lost at the margins, suspended in language unread until there is a reader who opens the file and begins.  It is my intention to initiate a recovery of that autobiographical formation that emerged after a war of conquest.”
    In providing an overview of this rich literature, Padilla also points out the power relations embedded in the narratives, showing that the reconstruction of the Mexican past was not merely nostalgic idealization, but often an angry and deeply politicized recovery of a world ruptured by American domination.