The greatest poet of the twentieth century to write in Romanesco, Trilussa (1887–1950) gained national and international standing, becoming one of those extremely rare poets who have made their living entirely from their own work. John DuVal chose for translation the best poems from Tutte le poesie, Trilussa’s collected poems, which capture the satire and comic-lyric sensibility of this beloved Roman poet.

What is more direct and intimate than one-to-one conversation? Here two forces in American poetry, the Kenyon Review and the University of Arkansas Press, bring together discussions between one of America's leading poets and editors, David Baker, and nine of the most exciting poets of our day. The poets, who represent a wide array of vocations and aesthetic positions, open up about their writing processes, their reading and education, their hopes for and discontents with the contemporary scene, and much more, treating readers to a view of the range and capacity of contemporary American poetry.

The Taste of Art offers a sample of scholarly essays that examine the role of food in Western contemporary art practices. The contributors are scholars from a range of disciplines, including art history, philosophy, film studies, and history. As a whole, the volume illustrates how artists engage with food as matter and process in order to explore alternative aesthetic strategies and indicate countercultural shifts in society.

The collection opens by exploring the theoretical intersections of art and food, food art’s historical root in Futurism, and the ways in which food carries gendered meaning in popular film. Subsequent sections analyze the ways in which artists challenge mainstream ideas through food in a variety of scenarios. Beginning from a focus on the body and subjectivity, the authors zoom out to look at the domestic sphere, and finally the public sphere.

Here are essays that study a range of artists including, among others, Filippo Tommaso Marinetti, Daniel Spoerri, Dieter Roth, Joseph Beuys, Al Ruppersberg, Alison Knowles, Martha Rosler, Robin Weltsch, Vicki Hodgetts, Paul McCarthy, Luciano Fabro, Carries Mae Weems, Peter Fischli and David Weiss, Janine Antoni, Elżbieta Jabłońska, Liza Lou, Tom Marioni, Rirkrit Tiravanija, Michael Rakowitz, and Natalie Jeremijenko.

Drawing on folklore and fantasy, childhood memory and hallucination, and marked by a tone of piercing divulgence, Teeth Never Sleep nimbly negotiates the split consciousness a culture of dominance requires of men (especially men of color), highlighting the fissures in selfhood created by the pressure to seek submission over intimacy while still wanting desperately to be loved, and tracing the contorted route by which emotional pain finds expression in violence. “The night my girlfriend tells my mother I beat her, / I feel betrayed. This was a secret we kept between us. / That night, I was no longer my mother’s loving son,” the speaker in one poem confesses, and later “I never wanted to be this kind of animal.”

And yet, through the lens of Ángel García’s sharp imagining, men frequently appear as beasts (sometimes literally)—as hybrid beings both tender and brutal—that he steadfastly refuses to let off the hook as he obsessively catalogs the origins of toxic masculinity (the first time I made my mother cry, the first time I pitied my father, the first time I saw a girl bleed) and its quiet, lasting effects: “Still a part of me believes a / man shouldn’t cry in front of a woman, even in the dark.”

In a culture of weaponized masculinity, the poems in Teeth Never Sleep make a doorway of a wound, inviting readers to walk through and sit down inside the raw pain they harbor to meditate on two central, urgent questions: what it means to be a man and how, as a man, to love.

Winner of the 2019 Etel Adnan Poetry Prize

Inside the dodo bird is a forest, Inside the forest
a peach analog, Inside the peach analog a woman, Inside
the woman a lake of funerals

This layering of bird, woman, place, technology, and ceremony, which begins this first full-length collection by Zaina Alsous, mirrors the layering of insights that marks the collection as a whole. The poems in A Theory of Birds draw on inherited memory, historical record, critical theory, alternative geographies, and sharp observation. In them, birds—particularly extinct species—become metaphor for the violences perpetrated on othered bodies under the colonial gaze.

Putting ecological preservation in conversation with Arab racial formation, state vernacular with the chatter of birds, Alsous explores how categorization can be a tool for detachment, domination, and erasure. Stretching their wings toward de-erasure, these poems—their subjects and their logics—refuse to stay put within a single category. This is poetry in support of a decolonized mind.

Supreme Court Justice Thurgood Marshall said of Wiley Austin Branton that he “devoted his entire life to fighting for his own people.” There When We Needed Him is the story of that fight, which began with Branton's being one of the first black students at the University of Arkansas Law School and which took him to the highest levels of business and government. From his private law practice in Pine Bluff, Arkansas, Branton became, along with Marshall, counsel for the Little Rock Nine in their 1957 efforts to integrate Central High School. Under his leadership of the Atlanta-based Voter Education Project, more than six hundred thousand black voters were registered from 1962 to 1965. He later became executive secretary of President Lyndon Johnson's Council on Equal Opportunity and special assistant to attorneys general Nicholas Katzenbach and Ramsey Clark. He provided leadership to the United Planning Organization, the Alliance for Labor Action, and the NAACP; and he was dean of Howard University Law School. At Branton’s funeral in 1988, former Arkansas senator David Pryor described him as “quiet and unassuming. . . . It is his humility and desire to always put the goals of the civil rights movement before self which probably accounts for the fact that [he] was not more famous than he was.” The influence of this quiet and unassuming man continues to be felt decades later.

In 2016, Booklist observed, “Thomas Hauser is a treasure. Whatever he writes is worth reading. Boxing is blessed that he has focused so much of his career on the sweet science.”

There Will Always Be Boxing continues this tradition of excellence. A poignant look at Muhammad Ali—whose life was celebrated throughout the world following his death on June 3, 2016—highlights this collection of Hauser’s work. The year’s biggest fights are, as always, put in perspective. And once again, Hauser takes readers behind the scenes, giving them a seat at the table with boxing’s biggest power brokers as he reveals the inner workings of the sport and business of boxing.

There Will Always Be Boxing is sure not to disappoint the readers, writers, and critics who look forward to Hauser’s annual collection of articles about the contemporary boxing scene. This collection shows, once again, why Hauser is one of the last real champions of boxing and one of the very best who has ever written about the sport.

 

Things You Need to Hear gathers memories of Arkansans from all over the state with widely different backgrounds. In their own words, these people tell of the things they did growing up in the early twentieth century to get an education, what they ate, how they managed to get by during difficult times, how they amused themselves and earned a living, and much more. Some of Margaret Bolsterli's "informants," as she calls them, are famous (Johnny Cash, Maya Angelou, Levon Helm, Joycelyn Elders), but many more are not. Their vivid personal stories have been taken from published works and from original interviews conducted by Bolsterli. All together, these tales preserve memories of ways of life that are compelling, entertaining, and certainly well worth remembering.

The Pope Joan section, 1992 winner of the Eunice Tietjens Memorial Prize from Poetry Magazine

Booklist called Straight Writes and Jabs, last year’s collection of boxing articles by Thomas Hauser, “wonderful writing from a world-class journalist.” This year’s collection, Thomas Hauser on Boxing, is the latest in the popular annuals bringing together all Hauser’s writing from the previous year. Readers will enter the dressing room with elite champions in the moments before some of 2013’s biggest fights. Hauser’s award-winning investigative journalism is on display in his prize-winning exposé of the tragedy that befell heavyweight boxer Magomed Abdusalamov. There’s a look at the incomparable Don King in the twilight of his career, and much more.

Thomas Hauser is best known as Muhammad Ali's biographer and for his recording of the contemporary boxing scene. Booklist called Hauser "the most respected boxing journalist working today and perhaps the best ever." Robert Lipsyte said Hauser is "the best boxing writer of our time." Still, Hauser's love of sports began not with boxing but with baseball. Long before he turned to the sweet science, America's national pastime had captured his heart. His childhood allegiance was to the New York Yankees. Growing up in the suburbs of New York, he cheered for the Giants in football and Knicks in basketball. In college, the often-hapless Columbia Lions became his cause. Thomas Hauser on Sports brings together Hauser's articles on sports other than boxing. It combines personal memories with issue-oriented commentary and an intimate look at some of the most remarkable athletes of modern times. Hauser has dealt one-on-one with Ted Williams, Mickey Mantle, Arnold Palmer, Pete Rose, Arthur Ashe, Wilt Chamberlain, and other giants of sports. He has crossed swords with the likes of Marvin Miller and Howard Cosell. Thomas Hauser on Sports is a remarkable journey that begins in the days of Hauser's youth and follows the games we play into the era of steroids and multi-billion-dollar television contracts.

This Civil War memoir of Capt. Dennis E. Haynes is both unique and rare. Not only did few southern unionists write of their experiences after the war, Haynes’s is the only publication by a Louisiana unionist. Furthermore, it is the only account by a member of the First Louisiana Battalion Cavalry Scouts, a unit that existed for less than three months and saw its only real action during the Red River Campaign of 1864. Haynes’s memoir is a historic collection of his wartime experiences as a unionist in the Confederate South. Among his writings, Haynes describes how he opposed the secession of Texas and thus became a hunted man. He also tells of his harrowing odyssey to reach Union troops in Louisiana. Every step of the way, Haynes provides details, sometimes graphic, of the harassment and cruelty he and many others like him suffered at the hands of his Confederate neighbors.

In Bruce Bond's fourth full-length book, The Throats of Narcissus, the myth of Narcissus finds its transfiguring mirror in poems of a contemporary world, a world rendered precarious by literal and metaphysical famine, by the blood of fathers and distant strangers, the charred relics of foreign wars and nearer fires as well—a world wrestling with problems of its own self-regard and the consequent spiritual longing for personal communion and creative transformation. Thus the myth of Narcissus resonates not only as a story of self-absorption and demise, but also of life-affirming metamorphosis. As a result, we see not only poems concerning childhood and the dawn of guilt, desire, and self-awareness, but also poems featuring jazz figures of the fifties and sixties, heroes of creative discipline and play who dealt musically with their own narcissistic wounds and addictions, leaving a generous legacy of pleasures, however rebellious and private their roots.

Peter Viereck’s career in poetry is an ongoing experiment in the symbiosis of poetry and history. In Tide and Continuities that experiment has yielded its finest results. Included are many new poems, never before published, and stunning revisions from work as recent as his 1987 epic, Archer in the Marrow: The Applewood Cycles, and as early as his 1948 Pulitzer Prize-winning collection, Terror and Decorum.

This collection is the revelation of a great American poet. The Nobel laureate Joseph Brodsky calls Viereck “possibly the greatest rhymer of / the modern period.” This is Viereck’s most lyrical, most passionate book; hence Brodsky rhymes “lyric” with “Viereck.”

Tide and Continuities marks Viereck’s complete evolution as a poet, and brilliantly describes the arc of more than a half century’s work.

This collection of twenty stories delves into the lives of Egyptian characters, from those living in Egypt to those who have immigrated to the United States. With subtle and eloquent prose, the complexities of these characters are revealed, opening a door into their intimate struggles with identity and place. We meet people who are tempted by the possibilities of America and others who are tempted by the desire to return home. Some are in the throes of re-creating themselves in the new world while others seem to be embedded in the loss of their homeland. Many of these characters, although physically located in either the United States or Egypt, have lives that embrace both cultures. "A Game of Chance" follows the actions of a young man when he wins the immigration lottery and then must decide whether or not to change his life. "Cumin and Coriander" takes us inside a woman's thoughts as she tries to come to terms with the path her life has taken while working as a cook for American expatriates in Egypt. "The Top" enters the mind of a man whose immigration results in a loss of identity and sanity. These compelling stories pull us into the lives of many different characters and offer us striking insights into the Arab American experience.

Named one of New York Public Library's Best Books, 2023

Winner, 2023 Miller Williams Poetry Prize

To Be Named Something Else is a high-spirited celebration of Black matriarchy and lineage—both familial and literary. Centering the coming-of-age of Black femmes in Harlem, Shaina Phenix’s debut collection, in the words of series judge Patricia Smith: “enlivens the everyday—the everyday miraculous, the everyday hallelujah, the numbing everyday love, the everyday risk of just being Black and living. There is absolutely nowhere these poems aren’t—we’re dancing and sweating through our clothes, terminating a pregnancy in a chilled room of white and silver, finally gettin’ those brows threaded and nails did, practicing gettin’ the Holy Ghost, sending folks to their rest, having babies, listening carefully to the lessons of elders, and sometimes even talking back. . . . To Be Named Something Else is a book of reason and reckoning, substance and shadow. It’s tender and wide-aloud and just about everything we need right now, when both reason and reckoning are in such woefully short supply.” Phenix’s full-throated poetry, with its “superlative combination of formalism and funk,” is assuredly something else.

Winner, 2020 Association for the Study of Food and Society Book Award, Edited Volume

Long before the founding of the Jamestown, Virginia, colony and its Starving Time of 1609–1610—one of the most famous cannibalism narratives in North American colonial history—cannibalism played an important role in shaping the human relationship to food, hunger, and moral outrage. Why did colonial invaders go out of their way to accuse women of cannibalism? What challenges did Spaniards face in trying to explain Eucharist rites to Native peoples? What roles did preconceived notions about non-Europeans play in inflating accounts of cannibalism in Christopher Columbus’s reports as they moved through Italian merchant circles?

Asking questions such as these and exploring what it meant to accuse someone of eating people as well as how cannibalism rumors facilitated slavery and the rise of empires, To Feast on Us as Their Prey posits that it is impossible to separate histories of cannibalism from the role food and hunger have played in the colonization efforts that shaped our modern world.

2014 cowinner, Miller Williams Arkansas Poetry Prize

For fifty years, William Allen White, first as a reporter and later as the long-time editor of the Emporia Gazette, wrote of his small town and its Mid-American values. By tailoring his writing to the emerging urban middle class of the early twentieth century, he won his “gospel of Emporia” a nationwide audience and left a lasting impact on he way America defines itself.

Investigating White’s life and his extensive writings, Edward Gale Agran explores the dynamic thought of one of America’s best-read and most-respected social commentators. Agran shows clearly how White honed his style and transformed the myth of conquering the western frontier into what became the twentieth-century ideal of community building.

Once a confidante of and advisor to Theodore Roosevelt, White addressed, and reflected in his work, all the great social and political oscillations of his time—urbanization and industrialism, populism, and progressivism, isolationism internationalism, Prohibition, and New Deal reform. Again and again, he asked the question “What’s the matter?” about his times and townspeople, then found the middle ground. With great care and discernment, Agran gathers the man strains of White’s messages, demonstrating one writer’s pivotal contribution to our idea of what it means to be an American.

More than seventy-five years after its publication, Gone with the Wind remains thoroughly embedded in American culture. Margaret Mitchell’s novel and the film produced by David O. Selznick have melded with the broader forces of southern history, southern mythology, and marketing to become, and remain, a cultural phenomenon.

A Tough Little Patch of History (the phrase was coined by a journalist in 1996 to describe the Margaret Mitchell home after it was spared from destruction by fire) explores how Gone with the Wind has remained an important component of public memory in Atlanta through an analysis of museums and historic sites that focus on this famous work of fiction. Jennifer W. Dickey explores how the book and film threw a spotlight on Atlanta, which found itself simultaneously presented as an emblem of both the Old South and the New South. Exhibitions produced by the Atlanta History Center related to Gone with the Wind are explored, along with nearby Clayton County’s claim to fame as “the Home of Gone with the Wind,” a moniker bestowed on the county by Margaret Mitchell’s estate in 1969. There’s a recounting of the saga of “the Dump,” the tiny apartment in midtown Atlanta where Margaret Mitchell wrote the book, and how this place became a symbol for all that was right and all that was wrong with Mitchell’s writing.

A thoroughly researched and extensively documented look at race relations in Arkansas druing the forty years after the Civil War, Town and Country focuses on the gradual adjustment of black and white Arkansans to the new status of the freedman, in both society and law, after generations of practicing the racial etiquette of slavery.

John Graves examines the influences of the established agrarian culture on the developing racial practices of the urban centers, where many blacks living in the towns were able to gain prominence as doctors, lawyers, successful entrepreneurs, and political leaders. Despite the tension, conflict, and disputes within and between the voice of the government and the voice of the people in an arduous journey toward compromise, Arkansas was one of the most progressive states during Reconstruction in desegregating its people.

Town and Country makes a significant contribution to the history of the postwar South and its complex engagement with the race issue.

Taken as a whole, these essays present a chorus on the rapid evolution of modern Arabic artistic achievement and how that art relates to the traditions and histories of both the Arab and Western worlds.

In a collection of separate, mostly unrelated essays written for his newspaper column over many years, Workman charms with his grace, comforts with his wisdom and makes us smile with his wit. Like his previous collections of inspirational columns, Open Windows and Fireflies in a Fruitjar, this is a book to be read and given as a gift to those we love.

In these poems, Michelle Boisseau troubles sound into music and light into color. She renders the physics of absence and the deceptions of presence: a garage full of haunted tools, the ordinary and odd lives embodied in medieval paintings, the voice of a father traveling on radio waves. The poems’ contemplative, rigorous intelligence affirms pleasure in the fallen world, picking out the golden thread in a dark tapestry. Moving through us in waves of light and sound, the words and trappings of the material world brim here with spiritual force and resonate with the power of things poised on the brink of revelation: trembling the air.

This groundbreaking anthology brings together twenty-seven authors from a wide range of experiences that offer new perspectives on the Iranian American story. The authors in Tremors represent the maturing voice of Iranian American fiction from the vantage point of those who were born and raised in Iran, as well as those writers who reflect a more distant, but still important, connection to their Iranian heritage. Altogether, these narratives capture the diversity of the Iranian diaspora and complicate the often-narrow view of Iranian culture represented in the media. The stories and novel excerpts explore the deeply human experiences of one of the newest immigrant groups to the United States in its attempts to adjust and assimilate in the face of major historical upheavals such as the 1979 Iranian revolution, the hostage crisis, and the attacks of September 11, 2001. The stories set in Iran testify to the resilience, dignity, and humor of a people rich in history and culture.

In 1979, Ed Stilley was leading a simple life as a farmer and singer of religious hymns in Hogscald Hollow, a tiny Ozark community south of Eureka Springs, Arkansas. Life was filled with hard work and making do for Ed, his wife Eliza, and their five children, who lived in many ways as if the second half of the twentieth century had never happened.

But one day Ed’s life was permanently altered. While plowing his field, he became convinced he was having a heart attack. Ed stopped his work and lay down on the ground. Staring at the sky, he saw himself as a large tortoise struggling to swim across a river. On his back were five small tortoises—his children—clinging to him for survival. And then, as he lay there in the freshly plowed dirt, Ed received a vision from God, telling him that he would be restored to health if he would agree to do one thing: make musical instruments and give them to children.

And so he did. Beginning with a few simple hand tools, Ed worked tirelessly for twenty-five years to create over two hundred instruments, each a crazy quilt of heavy, rough-sawn wood scraps joined with found objects. A rusty door hinge, a steak bone, a stack of dimes, springs, saw blades, pot lids, metal pipes, glass bottles, aerosol cans—Ed used anything he could to build a working guitar, fiddle, or dulcimer. On each instrument Ed inscribed “True Faith, True Light, Have Faith in God.”

True Faith, True Light: The Devotional Art of Ed Stilley documents Ed Stilley’s life and work, giving us a glimpse into a singular life of austere devotion.

Winner of the 1998 Ohioana Poetry Award

Skilled at both extended narratives and intense, intimate lyrics, David Baker combines his talents in his fifth collection of poems. Working in syllabics, sonnets, couplets, and free verse, Baker can write unflinchingly about love, illness, madness, and perseverance.

In September 1957 nine black children tried to integrate Arkansas’s Little Rock Central High School in accordance with the Supreme Court’s decision in Brown v. Board of Education. Claiming he was acting to keep the peace, Gov. Orval Faubus used the Arkansas National Guard to keep them out of the school. After a lengthy standoff, President Eisenhower called in the 101st Airborne and reluctantly, slowly, but forcibly began to integrate the school. The standoff became a rallying cry for Southern segregationists and a marker of the country’s shame.

The accounts that have been so mythologized over the years leave people embarrassed and angry, yet the myth is a cardboard cutout of the full story. Turn Away Thy Son, told from the point of view of sixteen key participants, brings the nine students, their tormentors, the school administration, the governor, and the press to vivid life. It shows the truth about Little Rock, beyond the caricatures to the fundamental driving forces that made school desegregation the hottest of hot-button issues in the Jim Crow South.

Turn Away Thy Son was originally published by Free Press in 2007.

Winner of the 2008 Booker Worthen Literary Prize.

Marvin Schwartz chronicles the story of Tyson Foods and its impact on both the business community and the poultry market in America in an entertaining and enlightening tribute to the Tyson vision and success.