Following the 1941 attack on Pearl Harbor and America's declaration of war on Japan, the U.S. War Department allowed up to five hundred second-generation, or "Nisei," Japanese American women to enlist in the Women's Army Corps and, in smaller numbers, in the Army Medical Corps.

Through in-depth interviews with surviving Nisei women who served, Brenda L. Moore provides fascinating firsthand accounts of their experiences. Interested primarily in shedding light on the experiences of Nisei women during the war, the author argues for the relevance of these experiences to larger questions of American race relations and views on gender and their intersections, particularly in the country's highly charged wartime atmosphere. Uncovering a page in American history that has been obscured, Moore adds nuance to our understanding of the situation of Japanese Americans during the war.

Awarded annually since 1987, the Theodore Ward Prize recognizes the outstanding individual accomplishments of African American playwrights, as well as their growing importance to the shape and direction of American drama in our time. This collection, edited by a director and educator who has been affiliated with the contest for fifteen of its seventeen years, showcases a selection of the award-winning plays and offers a rich and varied view of the best of two decades of evolving African American drama.

These seven plays, which span the Ward Prize's history, represent a wide range of talents, experience, and perspectives brought to bear on diverse themes, from a unique moment in the history of baseball's Negro League to a working-class couple contending with a neighborhood bully; from a child's memories of negotiating desegregation to coming of age amidst the ravages of racism, child abuse, and AIDS. By turns poetic and moving, brave and rousing, uproarious and unsettling, these works written by established and emerging playwrights allow actors, directors, theatergoers, and readers to sample the multifarious dramatic experience being limned by African American playwrights today.

Americans were enthralled by the Shakers in the years between 1925 and 1965. They bought Shaker furniture, saw Shaker worship services enacted on Broadway, sang Shaker songs, dressed in Shaker-inspired garb, collected Shaker artifacts, and restored Shaker villages. William D. Moore analyzes the activities of scholars, composers, collectors, folklorists, photographers, writers, choreographers, and museum staff who drove the national interest in this dwindling regional religious group.

This interdisciplinary study places the activities of individuals—including Doris Humphrey, Charles Sheeler, Laura Bragg, Juliana Force, and Edward Deming Andrews—within the larger cultural and historical contexts of nationalism, modernism, and cultural resource management. Taking up previously unexamined primary sources and cultural productions that include the first scholarly studies of the faith, material culture and visual arts, stage performances, and museum exhibitions, Shaker Fever compels a reconsideration of this religious group and its place within American memory. It is sure to delight enthusiasts, public historians, museum professionals, furniture collectors, and anyone interested in the dynamics of cultural appropriation and stewardship.

Covering 19 years of excavations, this volume provides an invaluable collection of Moore's pioneering archaeological investigations along Alabama's waterways.

In 1996, The University of Alabama Press published The Moundville Expeditions of Clarence Bloomfield Moore, which covered a large part of Moore's early archaeological expeditions to the state of Alabama. This volume collects the balance of Moore's Alabama expeditions, with the exception of those Moore made along the Tennessee River, which will be collected in another, forthcoming volume focusing on the Tennessee basin.

This volume includes:

Certain Aboriginal Remains of the Alabama River (1899);

Certain Aboriginal Remains of the Tombigbee River(1901);

a portion of Certain Aboriginal Remains of the Northwest Florida Coast (1901);

The So-Called "Hoe-Shaped Implement" (1903);

Aboriginal Urn-Burial in the United States (1904);

A Form of Urn-Burial on Mobile Bay (1905);

Certain Aboriginal Remains of the Lower Tombigbee River (1905);

Certain Aboriginal Remains on Mobile Bay and on Mississippi Sound (1905);

a portion of Mounds of the Lower Chattahoochee and Lower Flint Rivers (1907);

a portion of The Northwest Florida Coast Revisited(1918).

Craig Sheldon's comprehensive introduction focuses both on the Moore expeditions and on subsequent archaeological excavations at
sites investigated by Moore. Sheldon places Moore's archaeological work in the context of his times and against the backdrop of similar investigations in the Southeast. Sheldon discusses practical matters, such as the various assistants Moore employed and their roles in these historic expeditions. He provides brief vignettes of daily life on the Gopher and describes Moore's work habits, revealing professional and personal biographical details previously unknown about this enigmatic archaeologist.

 

In Southern Sanctuary, retired NASA research scientist and writer Marian Moore Lewis takes readers on a journey of discovery through the Goldsmith-Schiffman Wildlife Sanctuary, a 400-acre preserve in Madison County, Alabama. Writing in the voice of a knowledgeable friend and with accompanying color photographs, Lewis introduces plants, animals, and other wildlife that reside in the preserve’s meadows, woods, and waterways—like those beloved throughout the American South.
 
Lewis has organized this beautifully presented volume into twelve monthly chapters. She starts her year in April after the crystalline frosts of winter have thawed. Already a bobcat has stamped a padded paw print in the lush spring muds as crossvine blossoms of magenta and lemon beckon winged pollinators nearby. Walk with her into the months of summer, when trees leaf out into a cathedral of habitats for birds, insects, and small mammals. In language naturalists of any age will enjoy, Lewis explains marvelous compound eyes, called ommatidia, of iridescent dragonflies and the homey carpentry of beavers damming a creek. As colored reflections signal autumn, companionable songbirds migrate south while the last caterpillars of summer roll themselves into a leaf tent, or hibernaculum, to exist in diapause until next spring. In winter, Lewis admires nature at rest and rocks like chert, sought by Native Americans for arrowheads. Chert lies over bedrock of crenellated limestone, remnant of a time when an undersea Alabama reverberated with life preparing to emerge from the sea.
 
Southern Sanctuary provides a rich compendium of useful features. Lewis uses both common and Latin names for the insects, plants and flowers, fungi, fish, reptiles, and mammals thus enriching knowledge of botany and zoology. Her photos and descriptions make it easy for explorers of Southern Appalachian riparian habitats to use the book to identify species of plants and animals near their own homes. Rounding out this astonishing work are handy guides to additional resources, taxonomy and measurements, rainfall, soil types, and native trees.
 
Southern Sanctuary will be of value to educators and students, professional and amateur naturalists, hikers, birdwatchers, botanists, and ecologists. Infusing a wealth of useful information into an elegant design, it encourages an awareness of Alabama’s rich biodiversity. Marian Moore Lewis’s Southern Sanctuary is a new classic in the best tradition of nature writing.

Gathered here are seventeen sound investment principles that will help people make sensible choices for financial security. What is surprising, however, is how applicable these principles are to life.

 

Fringe Benefits, an award-winning theatre company, collaborates with schools and communities to create plays that promote constructive dialogue about diversity and discrimination issues. Staging Social Justice is a groundbreaking collection of essays about Fringe Benefits’ script-devising methodology and their collaborations in the United States, Australia, Canada and the United Kingdom. The anthology also vividly describes the transformative impact of these creative initiatives on participants and audiences.  By reflecting on their experiences working on these projects, the contributing writers—artists, activists and scholars—provide the readerwith tools and inspiration to create their own theatre for social change.  

“Contributors to this big-hearted collection share Fringe Benefits’ play devising process, and a compelling array of methods for measuring impact, approaches to aesthetics (with humor high on the list), coalition and community building, reflections on safe space, and acknowledgement of the diverse roles needed to apply theatre to social justice goals. The book beautifully bears witness to both how generative Fringe Benefits’ collaborations have been for participants and to the potential of engaged art in multidisciplinary ecosystems more broadly.”—Jan Cohen-Cruz, editor of Public: A Journal of Imagining America