The second edition features twelve new poets as well as new work by Donald Justice, T. R. Hummer, Dave Smith, Pattiann Rogers, Andrew Hudgins, Henry Taylor, Gerald Barrax, Rodney Jones, and others. Among the new additions are Mark Jarman, Cathy Smith Bowers, and Charlie Smith. Many teachers realize that the best way to get their students to relate to poetry is to show them poems that contain landscapes and subjects they understand and can identify with. Leon Stokesbury has put together a richly varied collection used in classrooms not only in the South but all over the country as a means of studying the important influence of southern poetry on American literature. With the publication of the second edition of The Made Thing, Stokesbury has marked the end of the twentieth century and the rise to prominence of southern writers. This collection serves as a substantial sampling of poets whose works span more than five decades and who explore the rich personal and cultural history that extends beyond the boundaries of the South.

Winner, 2017 Etel Adnan Poetry Prize

In the magic my body becomes, Jess Rizkallah seeks a vernacular for the inescapable middle ground of being Arab American—a space that she finds, at times, to be too Arab for America and too American for her Lebanese elders.

These poems freely assert gender, sexuality, and religious beliefs while at the same time respecting a generational divide: the younger’s privilege gained by the sacrifice of the older, the impossibility of separating what is wholly hers from what is hers secondhand.

In exploring family history, civil war, trauma, and Lebanon itself, Rizkallah draws from the spirits of canonical Arab and Middle Eastern poets. As a result of her conjuring, the reader feels these spirits begin to exorcise the grief of those who are still alive. Throughout, there is the body, a reclamation and pushback against cultures that simultaneously sexualize and shame women. And there is a softness as inherent as rage, a resisting of stereotypes that too often speak louder than the complexities of a resilient cultural identity.

The magic my body becomes is an exciting new book from an exciting young poet, a love letter to a people as well as a fist in the air.

In plain, unpretentious language, with brutal honesty, Ron Koertge can meld violence, love, human ugliness, joy, and modern depravity into a short lyric that makes us laugh out loud or socks us in the gut. His images arrive in giant clown shoes—cigars the size of Florida, the plastic man’s counter-length arms—or neatly packaged in carefully observed detail, as he writes of the “black little hearts” of ants or an ape’s “dark and leathery breast.”

Through every poem, there runs a constant and sincere humanity, a voice that laughs at itself, often goads us a bit, but always stuns and enlightens us when we dis – cover something of ourselves gambling with the crowd at the racetrack, driving from the parking lot of the Mexican restaurant, or shambling with the distraught parent leaving the hospital.

In Making Love to Roget’s Wife, Ron Koertge offers his best work from twenty-three years and a dozen earlier collections. With twenty-five new poems, and over eighty from previous books, this selection reawakens us to the presence of a superbly honed comic voice.

Throughout the NCAA Tournament’s history, underdogs, Cinderella stories, and upsets have captured the attention and imagination of fans. Making March Madness is the story of this premiere tournament, from its early days in Kansas City, to its move to Madison Square Garden, to its surviving a point-shaving scandal in New York and taking its games to different sites across the country.Chad Carlson’s analysis places college basketball in historical context and connects it to larger issues in sport and American society, providing fresh insights on a host of topics that readers will find interesting, illuminating, and thought provoking.

There have been many books written about Johnny Cash, but The Man in Song is the first to examine Cash’s incredible life through the lens of the songs he wrote and recorded. Music journalist and historian John Alexander has drawn on decades of studying Cash’s music and life, from his difficult depression-era Arkansas childhood through his death in 2003, to tell a life story through songs familiar and obscure. In discovering why Cash wrote a given song or chose to record it, Alexander introduces readers anew to a man whose primary consideration of any song was the difference music makes in people’s lives, and not whether the song would become a hit.

The hits came, of course. Johnny Cash sold more than fifty million albums in forty years, and he holds the distinction of being the only performer inducted into the Rock and Roll Hall of Fame, the Country Music Hall of Fame, the Songwriters Hall of Fame, and the Gospel Music Hall of Fame. The Man in Song connects treasured songs to an incredible life. It explores the intertwined experience and creativity of childhood trauma. It rifles through the discography of a life: Cash’s work with the Tennessee Two at Sam Phillips’s Sun Studios, the unique concept albums Cash recorded for Columbia Records, the spiritual songs, the albums recorded live at prisons, songs about the love of his life, June Carter Cash, songs about murder and death and addiction, songs about ramblers, and even silly songs.

Appropriate for both serious country and folk music enthusiasts and those just learning about this musical legend, The Man in Song will appeal to a fan base spanning generations. Here is a biography for those who first heard “I Walk the Line” in 1956, a younger generation who discovered Cash through songs like his cover of Trent Reznor’s “Hurt,” and everyone in between.

In 1962, James Meredith famously desegregated the University of Mississippi (a.k.a. Ole Miss). As the first Black American admitted to the school, he demonstrated great courage amidst the subsequent political clashes and tragic violence. After President Kennedy summoned federal troops to help maintain order, the South—and America at large—would never be the same.

Man on a Mission depicts Meredith’s relentless pursuit of justice, beginning with his childhood in rural Mississippi and culminating with the confrontation at Ole Miss. A blend of historical research and creative inspiration, this graphic history tells Meredith’s dramatic story in his own singular voice.

From the dawn of the modern civil rights movement, Meredith has offered a unique perspective on democracy, racial equality, and the meaning of America. Man on a Mission presents his captivating saga for a new generation in the era of Black Lives Matter.

Charles Rafferty works in masks, voices, and personae. Winner of the fifth annual Arkansas Poetry Award, The Man on the Tower consists of dramatic monologues and fables about “the man” the many incarnations of our lives that are not allowed, cannot be lived, or are kept darkly hidden. Made believable in the lines of Rafferty’s poems, his characters show us their desires, complaints, and obsessions, often revealing what they would want to keep concealed, the shameful and the wild.

William Gilmore Simms’s (1806–1870) body of work, a sweeping fictional portrait of the colonial and antebellum South in all its regional diversity, with its literary and intellectual issues, is probably more comprehensive than any other nineteenth-century southern author. Simms’s career began with a short novel, Martin Faber, published in 1833. This Gothic tale is reminiscent of James Hogg’s Confessions of a Sinner and was written four years before Edgar Allan Poe’s “William Wilson.” Narrated in the first person, it is considered a pioneering examination of criminal psychology. Martin seduces then murders Emily so that he might marry another woman, Constance. Martin confesses to his friend and is killed after attempting to stab Constance when she visits him in jail. The book was immediately successful and was well received by the northern media, thus starting Simms’s successful career as a writer, one that would rank him as the only major southern literary figure besides Poe before the Civil War. As with other volumes in the Arkansas Edition of Simms’s work, this volume includes a critical introduction by the editor and a Simms chronology, as well as appendices dealing with textual matters. This edition also includes Simms’s 1829 story, “Confessions of a Murderer,” which was the germ for his first book of fiction.

In Meanings of Maple, Michael A. Lange provides a cultural analysis of maple syrup making, known in Vermont as sugaring, to illustrate how maple syrup as both process and product is an aspect of cultural identity.

Readers will go deep into a Vermont sugar bush and its web of plastic tubes, mainline valves, and collection tanks. They will visit sugarhouses crammed with gas evaporators and reverse-osmosis machines. And they will witness encounters between sugar makers and the tourists eager to invest Vermont with mythological fantasies of rural simplicity.

So much more than a commodity study, Meanings of Maple frames a new approach for evaluating the broader implications of iconic foodways, and it will animate conversations in food studies for years to come.

Civil rights activist Medgar Wiley Evers was well aware of the dangers he would face when he challenged the status quo in Mississippi in the 1950s and '60s, a place and time known for the brutal murders of Emmett Till, Reverend George Lee, Lamar Smith, and others. Nonetheless, Evers consistently investigated the rapes, murders, beatings, and lynchings of black Mississippians and reported the horrid incidents to a national audience, all the while organizing economic boycotts, sit-ins, and street protests in Jackson as the NAACP's first full-time Mississippi field secretary. He organized and participated in voting drives and nonviolent direct-action protests, joined lawsuits to overturn state-supported school segregation, and devoted himself to a career path that eventually cost him his life. This biography of an important civil rights leader draws on personal interviews from Myrlie Evers-Williams (Evers's widow), his two remaining siblings, friends, grade-school-to-college schoolmates, and fellow activists to elucidate Evers as an individual, leader, husband, brother, and father. Extensive archival work in the Evers Papers, the NAACP Papers, oral history collections, FBI files, Citizen Council collections, and the Mississippi State Sovereignty Commission Papers, to list a few, provides a detailed account of Evers's NAACP work and a clearer understanding of the racist environment that ultimately led to his murder.

At the center of James McAuley’s new collection—the work of over a decade since his previous book, Coming & Going, New & Selected—is the sequence, “God’s Pattern,” meditations on the Stations of the Cross, an old devotional form of pilgrimage or “pattern” still practiced in rural parishes of the poet’s native country, Ireland. Theme and treatment vary throughout the collection, from somber reflection on the fate of a drunk in a cheap hotel room, “Cantata for the Feast of St. Anonymous,” to the scathing Celtic-style satire, “The Gingriad.” McAuley is well regarded for his experiments with traditional forms and rhythms: examples included are blank-verse narratives and elegies, a Haiku sequence, sonnets, a variation on the topographical poetry of the seventeenth century, even a carmen figurata.

Meditations, With Distractions has the qualities that all good poetry should possess: depth, erudition, accessibility, a joy in the practice of language. Combine these qualities with McAuley’s humanity and humor, and the result is a collection that readers will come to enjoy and appreciate more and more with each successive reading.

“This wonderful monograph treats a subject that resonates with anyone who studies the Palestinian-Israeli conflict and particularly Palestinian nationalism: that how Palestinian history is remembered and constructed is as meaningful to our understanding of the current struggle as arriving as some sort of ‘complete empirical understanding’ of its history. Swedenburg . . . studies how a major anti-colonial insurrection, the 1936–38 strike and revolt in Palestine [against the British], is remembered in Palestinian nationalist historiography, western and Israeli ‘official’ historical discourse, and Palestinian popular memory. Using primarily oral history interviews, supplemented by archival material and national monuments, he presents multiple, complex, contradictory, and alternative interpretations of historical events. . . . The book is thematically divided into explorations of Palestinian nationalist symbols, stereotypes, and myths; Israeli national monuments that simultaneously act as historical ‘injunctions against forgetting’ Jewish history and efforts to ‘marginalize, vilify, and obliterate’ the Arab history of Palestine; Palestine subaltern memories as resistance to official narratives, including unpopular and controversial recollections of collaboration and assassination; and finally, how the recodification and revival of memories of the revolt informed the Palestinian intifada that erupted in 1987.” —MESA Bulletin

Swindler. Murderer. Scoundrel.

Robert Boatright was one of Middle America’s greatest confidence men. Although little remembered today, his story provides a rare glimpse into America’s criminal past. Working in concert with a local bank and an influential Democratic boss, “this dean of modern confidence men” and his colorful confederacy of con men known as the Buckfoot Gang seemed untouchable. A series of missteps, however, led to a string of court cases across the country that brought Boatright’s own criminal enterprise to an end. And yet, the con continued: Boatright’s successor, John C. Mabray, and his cronies, many of whom had been in the Buckfoot Gang, preyed upon victims across North America in one of the largest midwestern criminal syndicates in history before they were brought to heel.

Like the works of Sinclair Lewis, Boatright’s story exposes a rift in the wholesome midwestern stereotype and furthers our understanding of nineteenth- and twentieth-century American society.

Saturated in patriotic colors, Superman and Wonder Woman are about as American as baseball and apple pie. Superman, created in 1938, materialized as the brawny answer to the Great Depression, and when Wonder Woman arrived three years later, she supported her adopted country by fighting alongside Allied troops in World War II. As the proverbial mother and father of the superhero genre, these icons appeared to a society in crisis as unwavering beacons of national morality, a quality that lent them success on the battlefield—and on the newsstand.

As new crises arise our comic-book champions continue to be called into action. They adapt and evolve but remain the same potent, if flawed, symbols of the American way. The artists in Men of Steel, Women of Wonder, an exhibition organized by Crystal Bridges Museum of American Art, wrestle with Wonder Woman’s standing as a feminist icon, position Superman as a Soviet-era weapon, and question the immigration status of both characters. Featuring more than seventy artworks that range from loving endorsements to brutal critiques of American culture, this exhibition catalog reveals the enduring presence of these characters and the diverse ways artists employ them.

Renowned poets and experts in metrics respond to Robert Wallace's pivotal essay which clarifies and simplifies methods of studying poetry. Former United States Poet Laureate Robert Hass has called Wallace's essay a paradigm shift in our understanding of English prosody.

Winner, 2018 ASFS (Association for the Study of Food and Society) Book Award, Edited Volume

This collection of new essays offers groundbreaking perspectives on the ways that food and foodways serve as an element of decolonization in Mexican-origin communities.

The writers here take us from multigenerational acequia farmers, who trace their ancestry to Indigenous families in place well before the Oñate Entrada of 1598, to tomorrow’s transborder travelers who will be negotiating entry into the United States. Throughout, we witness the shifting mosaic of Mexican-origin foods and foodways in the fields, gardens, and kitchen tables from Chiapas to Alaska.

Global food systems are also considered from a critical agroecological perspective, including the ways colonialism affects native biocultural diversity, ecosystem resilience, and equality across species, human groups, and generations.

Mexican-Origin Foods, Foodways, and Social Movements is a major contribution to the understanding of the ways that Mexican-origin peoples have resisted and transformed food systems. It will animate scholarship on global food studies for years to come.

1993 Mid-South Sociological Association Book Award

Robert E. Park has long been recognized as one of the most influential thinkers in early American sociology, yet virtually all of his works appearing before 1913 were published in popular magazines and were dismissed as nonsociological muckraking. In Militarism, Imperialism, and Racial Accommodation: An Analysis and Interpretation of the Early Writings of Robert E. Park, Stanford M. Lyman examines and reprints many of these little-known works, including Park’s essays on German military organization, his exposés of the atrocities committed by Belgium’s Leopold II in the Congo State, his studies of the black community in Winston-Salem, North Carolina, and of Booker T. Washington’s agricultural education program at Tuskegee, Alabama.

Lyman shows clearly that Park’s essays, written outside the academy, formulated a far more complex perspective on modern modes of evil than any proposed by his contemporaries, thereby influencing sociological debates for decades to come. By writing his essays on topical subjects and by publishing them for a public audience, Park dramatized his profound belief that the struggle to achieve racial accommodation and to establish a true and lasting democracy is a concern for all.

As I stood in the sun and the sea wind, with my shadow falling upon
those rocks, I certainly was reminded of the transience of human existence,
and my own in particular. As Pindar put it: “A dream about a
shadow is man.” I began to ponder more the being and nature of God
and his relation to the late twentieth-century situation, which science and
technology had created in the western world. Where did the ancient
world of rock and ocean fit into an environment in which nuclear physics
and the computer were playing an increasingly prominent part? . . .

This volume presents the works of three distinguished contemporary Hungarian playwrights which together mirror and elucidate the calamitous history of East Central Europe from World War II to the 1970s. Genre 3:

By the close of the nineteenth century, many poets had abandoned rhyme and meter in favor of “free verse.” Nearly one hundred years later, a growing number of younger poets are reclaiming traditional conventions of prosody by composing rhymed and measured poetry.

Missing Measures is the first full articulation of the aesthetics of this new movement. Timothy Steele, one of the best of those poets who are sometimes called the “New Formalists,” treats his subject against a backdrop of the long history of ideas about poetry, formulated first by the ancients and re-examined and re-interpreted by subsequent writers.

Steele offers a new perspective on the wholesale departure from tradition proclaimed in modernist critical justifications. A rare marriage of clear writing, careful scholarship, and bold thinking, Missing Measures provides a vital new movement with a critical manifesto.

Finalist, 2022 Housatonic Book Awards

At the First Baptist Church of Maeby, Arkansas, the sins of the child belonged to the parents until the child turned thirteen. Sarah Jones was only eight years old in the summer of 1964, but with her mother Esther Mae on eight prayer lists and flipping around town with the generally mistrusted civil rights organizers, Sarah believed it was time to get baptized and take responsibility for her own sins. That would mean sitting on the mourner’s bench come revival, waiting for her sign, and then testifying in front of the whole church.

But first, Sarah would need to navigate the growing tensions of small-town Arkansas in the 1960s. Both smarter and more serious than her years (a “fifty-year-old mind in an eight-year-old body,” according to Esther), Sarah was torn between the traditions, religion, and work ethic of her community and the progressive civil rights and feminist politics of her mother, who had recently returned from art school in Chicago. When organizers from the Student Non-Violent Coordinating Committee (SNCC) came to town just as the revival was beginning, Sarah couldn’t help but be caught up in the turmoil. Most folks just wanted to keep the peace, and Reverend Jefferson called the SNCC organizers “the evil among us.” But her mother, along with local civil rights activist Carrie Dilworth, the SNCC organizers, Daisy Bates, attorney John Walker, and indeed most of the country, seemed determined to push Maeby toward integration.

With characters as vibrant and evocative as their setting, Mourner’s Bench is the story of a young girl coming to terms with religion, racism, and feminism while also navigating the terrain of early adolescence and trying to settle into her place in her family and community.

In this critical study, Terri Mester makes solid biographic, thematic, technical, and figurative cases that W. B. Yeats, T. S. Eliot, D. H. Lawrence, and William Carlos Williams turned to dance and dancers—actual and mythic—to reinvigorate their literary practices.

Once considered a kind of delinquent activity, skateboarding is on track to join soccer, baseball, and basketball as an approved way for American children to pass the after-school hours. With family skateboarding in the San Francisco Bay Area as its focus, Moving Boarders explores this switch in stance, integrating first-person interviews and direct observations to provide a rich portrait of youth skateboarders, their parents, and the social and market forces that drive them toward the skate park.

This excellent treatise on the contemporary youth sports scene examines how modern families embrace skateboarding and the role commerce plays in this unexpected new parent culture, and highlights how private corporations, community leaders, parks and recreation departments, and nonprofits like the Tony Hawk Foundation have united to energize skate parks—like soccer fields before them—as platforms for community engagement and the creation of social and economic capital.

 

Finalist, 2017 Miller Williams Poetry Prize, edited by Billy Collins

“Forces an eye-opening change in perspective.”

—Billy Collins

In Mr. Stevens’ Secretary, a fictional assistant to Wallace Stevens juggles her roles as a mother, a wife, a believer, and a working woman. Privy at times to the famous poet’s personal life, the secretary must balance her curiosity about Stevens with her commitment to her husband, her faith, and the life she desires.

This vivid and compelling character struggles with fears of mental illness and the challenges of working for a prominent, reserved man, all while adjusting to new environs. She leaves her home, and her job, as she contemplates whether her marriage is worth saving and if she can reconcile the Baptist faith of her upbringing with the questions raised by her new place in the world. Throughout, we are witness to her complex relationship with the famous modernist poet, and with writing itself.

A Muslim Primer covers the basic beliefs of Islam and provides an informative source for both lay and professional readers. First published in 1992, it has proven to be a valuable handbook for all attempting to better understand the tenets of the religion of a major portion of the world’s population. The reader is introduced to the authority of the Quran, the prophethood of Muhammad, the Wisdom of the Law, the Five Pillars of Islam, and to other fundamental principles of the religion. Distinctions are made between Sunni and Shiite traditions and the Sufi mystical dimension of Islam.

Well organized, visually appealing, and accurate, A Muslim Primer is useful to pre-collegiate and collegiate students of Islam, church and community study groups, and travelers, both tourists and business people.

In his third collection, My Father Says Grace, Donald Platt combines elegy with verse of larger historical allusion and reference. At the center of the book stand poems detailing a father’s stroke and slowly developing Alzheimer’s disease and how it affects one family. An extended meditation on a mother-in-law’s dying provides counterpoint to elegies for more public figures like Walt Whitman and Janis Joplin. The private life in “the valley of the shadow of death” often gets juxtaposed with explicitly political verse. One of these poems records the racially charged conversations in a small southern town’s Amazing Grace Beauty Salon. Another describes a Vietnam protestor, famously photographed while sticking flowers in an MP’s gun barrel, alongside images from his later life as a transvestite. The poems tend to find themselves in the midst of crisis, historical or personal. They yearn for “transport” and strive “to be ‘carried across,’ away, out, toward, back into / / some new country / where the soul improvises, croons scat to itself alone.”