An Escaped Slave who Fought for the Union and Whose Wartime Heroism was Finally Recognized with the Nation's Highest Honor for Military Valor

In 1862, Andrew “Andy” Jackson Smith, son of a white landowner and enslaved woman, es­caped to Union troops operating in Kentucky, made his way to the North, and volunteered for the 55th Massachusetts, one of the newly formed African American regiments. The regiment was deployed to South Carolina, and during a desperate assault on a Confederate battery, the color bearer was killed. Before the flag was lost, Smith quickly retrieved it and under heavy fire held the colors steady while the decimated regiment withdrew. The regiment’s commanding officer pro­moted Smith to color sergeant and wrote him a commendation for both saving the regimental flag and bravery under fire. Honorably discharged, Smith returned to Kentucky, where over the course of the next forty years he invested in land. In the early twentieth century, Burt G. Wilder, medical officer of the 55th, contacted Smith about his experiences for a book he was writing. During their correspondence, Wilder realized Smith was eligible for the nation’s highest award. In 1916, Wilder applied to the army, but his request for Smith’s medal was denied due to the “absence of records.” At Smith’s death in 1932, his daughter Caruth received a box of his papers revealing the extent of her father’s heroism. Her nephew took up the cause and through long and painstaking research located the lost records. With the help of historians, local politicians, and others, Andrew Jackson Smith received his long overdue Medal of Honor in 2001.

In Carrying the Colors: The Life and Legacy of Medal of Honor Recipient Andrew Jackson Smith, the riveting journey from slavery to a White House ceremony is revealed, with the indomitable spirit of Smith—slave, soldier, landowner, father—mirrored by the dogged pursuit of his grandson and his allies in the quest to discover the truth about an American who dedicated his life to the service of his community and country.

Angus Fletcher is one of our finest theorists of the arts, the heir to I. A. Richards, Erich Auerbach, Northrop Frye. This, his grandest book since the groundbreaking Allegory of 1964, aims to open another field of study: how thought--the act, the experience of thinking--is represented in literature.

Recognizing that the field of formal philosophy is only one demonstration of the uses of thought, Fletcher looks for the ways other languages (and their framing forms) serve the purpose of certain thinking activities. What kinds of thinking accompany the writing of history? How does the gnomic sentence manage to represent some point of belief? The fresh insights Fletcher achieves at every turn suggest an anatomy of poetic and fictional strategies for representing thought--the hazards, the complications, the sufferings, the romance of thought. Fletcher's resources are large, and his step is sure. The reader samples his piercing vision of Milton's Satan, the original Thinker, leaving the pain of thinking as his legacy for mankind; Marvell's mysteriously haunting "green thought in a green shade"; Old Testament and Herodotus, Vico and Coleridge; Crane, Calvino, Stevens. Fletcher ranges over the heights of literature, poetry, music, and film, never losing sight of his central line of inquiry. He includes comments on the essential role of unclear, vague, and even irrational thinking to suggest that ideas often come alive as thoughts only in a process of considerable distress. In the end he gives us literature--not the content of thought, but its form, its shape, the fugitive colors taken on by the mind as represented in art.

A major reevaluation of relationships among Blacks, Jews, and Irish in the years between the Irish Famine and the end of World War II, The Colors of Zion argues that the cooperative efforts and sympathies among these three groups, each persecuted and subjugated in its own way, was much greater than often acknowledged today. For the Black, Jewish, and Irish writers, poets, musicians, and politicians at the center of this transatlantic study, a sense of shared wrongs inspired repeated outpourings of sympathy. If what they have to say now surprises us, it is because our current constructions of interracial and ethnic relations have overemphasized conflict and division. As George Bornstein says in his Introduction, he chooses “to let the principals speak for themselves.”

While acknowledging past conflicts and tensions, Bornstein insists on recovering the “lost connections” through which these groups frequently defined their plights as well as their aspirations. In doing so, he examines a wide range of materials, including immigration laws, lynching, hostile race theorists, Nazis and Klansmen, discriminatory university practices, and Jewish publishing houses alongside popular plays like The Melting Pot and Abie’s Irish Rose, canonical novels like Ulysses and Daniel Deronda, music from slave spirituals to jazz, poetry, and early films such as The Jazz Singer. The models of brotherhood that extended beyond ethnocentrism a century ago, the author argues, might do so once again today, if only we bear them in mind. He also urges us to move beyond arbitrary and invidious categories of race and ethnicity.

Demonstrates the role of Beirut’s postwar graffiti and street art in transforming the cityscape and animating resistance.

Over the last two decades in Beirut, graffiti makers have engaged in a fierce “war of colors,” seeking to disrupt and transform the city’s physical and social spaces. In A War of Colors, Nadine Sinno examines how graffiti and street art have been used in postwar Beirut to comment on the rapidly changing social dynamics of the country and region. Analyzing how graffiti makers can reclaim and transform cityscapes that were damaged or monopolized by militias during the war, Sinno explores graffiti’s other roles, including forging civic engagement, commemorating cultural icons, protesting political corruption and environmental violence, and animating resistance. In addition, she argues that graffiti making can offer voices to those who are often marginalized, especially women and LGBTQ people. Copiously illustrated with images of graffiti and street art, A War of Colors is a visually captivating and thought-provoking journey through Beirut, where local and global discourses intersect on both scarred and polished walls in the city.