Despite a genuine admiration for Native Hawaiian culture, white Californians of the 1930s ignored authentic relationships with Native Hawaiians. Surfing became a central part of what emerged instead: a beach culture of dressing, dancing, and acting like an Indigenous people whites idealized.

Patrick Moser uses surfing to open a door on the cultural appropriation practiced by Depression-era Californians against a backdrop of settler colonialism and white nationalism. Recreating the imagined leisure and romance of life in Waikīkī attracted people buffeted by economic crisis and dislocation. California-manufactured objects like surfboards became a physical manifestation of a dream that, for all its charms, emerged from a white impulse to both remove and replace Indigenous peoples. Moser traces the rise of beach culture through the lives of trendsetters Tom Blake, John “Doc” Ball, Preston “Pete” Peterson, Mary Ann Hawkins, and Lorrin “Whitey” Harrison while also delving into California’s control over images of Native Hawaiians via movies, tourism, and the surfboard industry.

Compelling and innovative, Waikīkī Dreams opens up the origins of a defining California subculture.

The Pacific Coast of the Americas linked Pre-Columbian complex societies from Mexico to Peru, facilitating exploration, communication, and transportation in a way that terrestrial routes could not match. Yet West Mexico, the Isthmo-Colombian Area, and Ecuador, with their great stretches of coastline, were marginalized by the definition of the Mesoamerican and Andean culture areas in the 1940s. Waves of Influence seeks to renew the inquiry into Pacific coastal contacts and bring fresh attention to connections among regions often seen as isolated from one another.

This volume reassesses the evidence for Pre-Columbian maritime contacts along the Pacific Coast, from western Mexico to northwestern South America. The authors draw upon recent models of globalization, technological style, and ritual commensality alongside methods such as computer simulation, iconographic analysis, skeletal studies, and operational chains. No single model can characterize the coastal network over 4,000 km of coastline and over 4,000 years of interaction, and authors present individual case studies to demonstrate how each region participated in its own distinct networks. Essays address the difficulty of maritime movement, the transfer of crops, technology, and knowledge, the identification of different modalities of contact, and the detection of important nodes and social actors within the coastal network.

Patti Smith arrived in New York City at the end of the Age of Aquarius in search of work and purpose. What she found—what she fostered—was a cultural revolution. Through her poetry, her songs, her unapologetic vocal power, and her very presence as a woman fronting a rock band, she kicked open a door that countless others walked through. No other musician has better embodied the “nothing-to-hide” rawness of punk, nor has any other done more to nurture a place in society for misfits of every stripe.

Why Patti Smith Matters is the first book about the iconic artist written by a woman. The veteran music journalist Caryn Rose contextualizes Smith’s creative work, her influence, and her wide-ranging and still-evolving impact on rock and roll, visual art, and the written word. Rose goes deep into Smith’s oeuvre, from her first album, Horses, to acclaimed memoirs operating at a surprising remove from her music. The portrait of a ceaseless inventor, Why Patti Smith Matters rescues punk’s poet laureate from “strong woman” clichés. Of course Smith is strong. She is also a nuanced thinker. A maker of beautiful and challenging things. A transformative artist who has not simply entertained but also empowered millions.

A stirring defense of Sinéad O’Connor’s music and activism, and an indictment of the culture that cancelled her.

In 1990, Sinéad O’Connor’s video for “Nothing Compares 2 U” turned her into a superstar. Two years later, an appearance on Saturday Night Live turned her into a scandal. For many people—including, for years, the author—what they knew of O’Connor stopped there. Allyson McCabe believes it’s time to reassess our old judgments about Sinéad O’Connor and to expose the machinery that built her up and knocked her down.

Addressing triumph and struggle, sound and story, Why Sinéad O’Connor Matters argues that its subject has been repeatedly manipulated and misunderstood by a culture that is often hostile to women who speak their minds (in O’Connor’s case, by shaving her head, championing rappers, and tearing up a picture of the pope on live television). McCabe details O’Connor’s childhood abuse, her initial success, and the backlash against her radical politics without shying away from the difficult issues her career raises. She compares O’Connor to Madonna, another superstar who challenged the Catholic Church, and Prince, who wrote her biggest hit and allegedly assaulted her. A journalist herself, McCabe exposes how the media distorts not only how we see O’Connor but how we see ourselves, and she weighs the risks of telling a story that hits close to home.

In an era when popular understanding of mental health has improved and the public eagerly celebrates feminist struggles of the past, it can be easy to forget how O’Connor suffered for being herself. This is the book her admirers and defenders have been waiting for.

Finalist, 2024 Lesbian Memoir/Biography, Lambda Literary Award for Arts and Culture 

A queer, Black “biography in essays” about the performer who gave us “Hound Dog,” “Ball and Chain,” and other songs that changed the course of American music.

Born in Alabama in 1926, raised in the church, appropriated by white performers, buried in an indigent’s grave—Willie Mae “Big Mama” Thornton's life events epitomize the blues—but Lynnée Denise pushes past the stereotypes to read Thornton’s life through a Black, queer, feminist lens and reveal an artist who was an innovator across her four-decade-long career.

Why Willie Mae Thornton Matters “samples” elements of Thornton’s art—and, occasionally, the author’s own story—to create “a biography in essays” that explores the life of its subject as a DJ might dig through a crate of records. Denise connects Thornton’s vaudevillesque performances in Sammy Green’s Hot Harlem Revue to the vocal improvisations that made “Hound Dog” a hit for Peacock Records (and later for Elvis Presley), injecting music criticism into what’s often framed as a cautionary tale of record-industry racism. She interprets Thornton’s performing in men’s suits as both a sly, Little Richard–like queering of the Chitlin Circuit and a simple preference for pants over dresses that didn’t have a pocket for her harmonica. Most radical of all, she refers to her subject by her given name rather than "Big Mama," a nickname bestowed upon her by a white man. It's a deliberate and crucial act of reclamation, because in the name of Willie Mae Thornton is the sound of Black musical resilience.

A provocative chronicle of how US public health has strayed from its liberal roots.

The Covid-19 response was a crucible of politics and public health—a volatile combination that produced predictably bad results. As scientific expertise became entangled with political motivations, the public-health establishment found itself mired in political encampment.

It was, as Sandro Galea argues, a crisis of liberalism: a retreat from the principles of free speech, open debate, and the pursuit of knowledge through reasoned inquiry that should inform the work of public health.

Across fifty essays, Within Reason chronicles how public health became enmeshed in the insidious social trends that accelerated under Covid-19. Galea challenges this intellectual drift towards intolerance and absolutism while showing how similar regressions from reason undermined social progress during earlier eras. Within Reason builds an incisive case for a return to critical, open inquiry as a guiding principle for the future public health we want—and a future we must work to protect.

Winner of the PEN Oakland–Josephine Miles Award

“A stunning portrayal of a tragedy endured and survived by women.”
—David W. Blight, author of Frederick Douglass

“Readers expecting hoop-skirted ladies soothing fevered soldiers’ brows will not find them here…Explodes the fiction that men fight wars while women idle on the sidelines.”
—Washington Post

The idea that women are outside of war is a powerful myth, one that shaped the Civil War and still determines how we write about it today. Through three dramatic stories that span the war, Stephanie McCurry invites us to see America’s bloodiest conflict for what it was: not just a brothers’ war but a women’s war.

When Union soldiers faced the unexpected threat of female partisans, saboteurs, and spies, long held assumptions about the innocence of enemy women were suddenly thrown into question. McCurry shows how the case of Clara Judd, imprisoned for treason, transformed the writing of Lieber’s Code, leading to lasting changes in the laws of war. Black women’s fight for freedom had no place in the Union military’s emancipation plans. Facing a massive problem of governance as former slaves fled to their ranks, officers reclassified black women as “soldiers’ wives”—placing new obstacles on their path to freedom. Finally, McCurry offers a new perspective on the epic human drama of Reconstruction through the story of one slaveholding woman, whose losses went well beyond the material to intimate matters of family, love, and belonging, mixing grief with rage and recasting white supremacy in new, still relevant terms.

“As McCurry points out in this gem of a book, many historians who view the American Civil War as a ‘people’s war’ nevertheless neglect the actions of half the people.”
—James M. McPherson, author of Battle Cry of Freedom

“In this brilliant exposition of the politics of the seemingly personal, McCurry illuminates previously unrecognized dimensions of the war’s elemental impact.”
—Drew Gilpin Faust, author of This Republic of Suffering

Working Space affords a rare opportunity to view painting from the inside out, through the eyes of one of the world’s most prominent abstract painters. Frank Stella describes his perception of other artists’ work, as well as his own, in this handsomely illustrated volume.

Stella uses the crisis of representational art in sixteenth-century Italy to illuminate the crisis of abstraction in our time. The artists who followed Leonardo, Michelangelo, Raphael, and Titian searched for new directions to advance their work from beneath the shadow of these great painters. Caravaggio pointed the way. So today, Stella believes, the successors to Picasso, Kandinsky, and Pollock must seek a pictorial space as potent as the one Caravaggio developed at the beginning of the seventeenth century. Stella sees Caravaggio as the pivot on whom painting turns, his consummate illusionism prompting the advance of a more flexible, more “real” space that allows painting to move and breathe, to suggest extension and unrestricted motion. Following Caravaggio, Rubens’ broad vision of fullness and active volume gave painting a momentum that helped propel it into the nineteenth century, where it came to rest in the genius of Géricault and Manet, themselves the precursors of modern painting.

Unfortunately, both contemporary abstract art and figurative painting have become trapped by ambiguous pictorial space and by a misguided emphasis on materiality (pigment for pigment’s sake). Pictorial qualities have given way to illustrational techniques. Abstract art has become verbal, defensive, and critical, caught up in theology masquerading as theory. Stella asserts that painting must understand its past, make use of the lucid realism of seventeenth-century Italy, and absorb a Mediterranean physicality to reinforce the lean spirituality of northern abstraction pioneered by Mondrian and Malevich. Working Space will provoke discussion and argument, not least because Stella offers nontraditional evaluations of the works of giants such as Raphael, Titian, Michelangelo, Picasso, and Pollock, as well as lesser-known figures including Annibale Carracci, Paulus Potter, and Morris Louis. The artist’s powers of discernment and the profusion of his ideas and opinions will dazzle and engage professionals, amateurs, and students of art.

Walter Benjamin's essays on the great French lyric poet Charles Baudelaire revolutionized not just the way we think about Baudelaire, but our understanding of modernity and modernism as well. In these essays, Benjamin challenges the image of Baudelaire as late-Romantic dreamer, and evokes instead the modern poet caught in a life-or-death struggle with the forces of the urban commodity capitalism that had emerged in Paris around 1850. The Baudelaire who steps forth from these pages is the flâneur who affixes images as he strolls through mercantile Paris, the ragpicker who collects urban detritus only to turn it into poetry, the modern hero willing to be marked by modern life in its contradictions and paradoxes. He is in every instance the modern artist forced to commodify his literary production: "Baudelaire knew how it stood with the poet: as a flâneur he went to the market; to look it over, as he thought, but in reality to find a buyer." Benjamin reveals Baudelaire as a social poet of the very first rank.

The introduction to this volume presents each of Benjamin's essays on Baudelaire in chronological order. The introduction, intended for an undergraduate audience, aims to articulate and analyze the major motifs and problems in these essays, and to reveal the relationship between the essays and Benjamin's other central statements on literature, its criticism, and its relation to the society that produces it.