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In stories, recipes, and photographs, James Beard Award–winning writer Robb Walsh and acclaimed documentary photographer O. Rufus Lovett take us on a barbecue odyssey from East Texas to the Carolinas and back. In Barbecue Crossroads, we meet the pitmasters who still use old-fashioned wood-fired pits, and we sample some of their succulent pork shoulders, whole hogs, savory beef, sausage, mutton, and even some barbecued baloney. Recipes for these and the side dishes, sauces, and desserts that come with them are painstakingly recorded and tested.

But Barbecue Crossroads is more than a cookbook; it is a trip back to the roots of our oldest artisan food tradition and a look at how Southern culture is changing. Walsh and Lovett trace the lineage of Southern barbecue backwards through time as they travel across a part of the country where slow-cooked meat has long been part of everyday life. What they find is not one story, but many. They visit legendary joints that don’t live up to their reputations—and discover unknown places that deserve more attention. They tell us why the corporatizing of agriculture is making it difficult for pitmasters to afford hickory wood or find whole hogs that fit on a pit.

Walsh and Lovett also remind us of myriad ways that race weaves in and out of the barbecue story, from African American cooking techniques and recipes to the tastes of migrant farmworkers who ate their barbecue in meat markets, gas stations, and convenience stores because they weren’t welcome in restaurants. The authors also expose the ways that barbecue competitions and TV shows are undermining traditional barbecue culture. And they predict that the revival of the community barbecue tradition may well be its salvation.

The definitive history of an iconic American food, with new chapters, sidebars, and updated historical accounts.

Expert Robert F. Moss researched hundreds of sources—newspapers, letters, journals, diaries, and travel narratives—to document the origins and evolution of barbecue from its origins among Native Americans to its present status as an icon of American culture. In this definitive guide, he maps out the development of the rich array of regional barbecue styles, chronicles the rise of barbecue restaurants, and profiles the famed pitmasters who made the tradition what it is today.

Barbecue is the story not just of a dish but also of a social institution that helped shape many regional cultures of the United States. The history begins with British colonists’ adoption of barbecuing techniques from Native Americans in the 17th and 18th centuries, moves to barbecue’s establishment as the preeminent form of public celebration in the 19th century, and is carried through to barbecue’s ubiquitous standing today.

From the very beginning, barbecues were powerful social magnets, drawing together people from a wide range of classes and geographic backgrounds. Barbecue played a key role in three centuries of American history, both reflecting and influencing the direction of an evolving society. By tracing the story of barbecue from its origins to today, Barbecue: The History of an American Institution traces the very thread of American social history.

Moss has made significant updates in this new edition, offering a wealth of new historical research, sources, illustrations, and anecdotes.

In Bardic Deadlines, writer and editor Geoffrey O'Brien collects twenty of his essays on poetry that originally appeared in the Voice Literary Supplement and the New York Review of Books. O'Brien surveys an array of some of the most striking and innovative poets to emerge in recent decades, including Susan Howe, August Kleinzahler, Clark Coolidge, Nathaniel Mackey, Gustaf Sobin, and Michael O'Brien. Discussions of contemporary work are juxtaposed with considerations of other traditions going as far back as the second-century Chinese anthology The Songs of the South and the Sanskrit master Kalidasa, traditions considered highly relevant to current practice. There are engaging, in-depth portraits of the work of poets John Clare, Hugh MacDiarmid, Emily Brontë, Kenji Miyazawa, and Frank O'Hara, among others. There is also an exploration of the poetics of Walt Whitman that highlights themes addressed throughout the collection: the physicality and musicality of language, the spatial dimension of poetry, the intimate bond between poet and reader, and the secret and often obsessive strategies by which the poet hides secrets in plain sight and enlists the reader in the making of the poem. Each essay focuses on poetry as an experience that impinges on basic questions of identity and being.

Winner, 2026 Society of Midland Authors Book Award
Finalist, 2026 Kingsley Tufts Poetry Award
Finalist, 2026 Griffin Poetry Prize

Barley Child, Greg Rappleye’s fifth collection, draws from family legends, whispered stories, and sworn denials across four generations of Irish American lives—recalled, imagined, and reconstructed from census records, old letters, church registries, yellowed newspaper clippings, and a few odd photographs in which the human figures are often unnamed. The sum of these affidavits, arrayed across the lyric and narrative lines of these poems, is an electrifying human choir—male and female, child and adult, Irish and American—their voices rising out of shame, poverty, absurdity, violence, a strained Catholic faith, and a virulent legacy of madness and alcoholism.

Free of nostalgia and cant, with a sharp Irish wit that often braves nearly monstrous subject matter, and reported with eyes that seldom mist over, Barley Child is a volume that once again confirms Greg Rappleye as a poet of witness.

The Beautiful Lesson of the I is a collection of finely made poems by an accomplished poet. It will reward the scholar and the student of poetry, as well as the reader looking for the simple pleasures of poetic insight authentically felt. Winner of the Swenson Poetry Award 2005. Now in paperback.

The 1963 publication of Thomas Pynchon’s V. changed the landscape of American fiction. Becoming Pynchon: Genetic Narratology and V. offers a detailed examination of the dramatic transformations that took place as Pynchon’s foundational novel went from typescript to published work. Luc Herman and John M. Krafft develop and deploy a rich theory of genetic narratology to examine the performance of genre in the novel. Pushing back against the current dominance of cognitive narratology, they discuss focalization, character construction, and evocation of consciousness as clues to Pynchon’s developing narratology of historical fiction. Their theoretical interventions offer an important and timely corrective to the field of narratology with a method that brings the author back into the analytical frame. 

Herman and Krafft use as their guide the typescript of V. that surfaced in 2001, when it was acquired by the Harry Ransom Humanities Research Center, as well as Pynchon’s editorial correspondence with Corlies Smith, his first editor at J. B. Lippincott. Becoming Pynchon assembles a comprehensive and unequaled picture of Pynchon’s writing process that will appeal both to Pynchonians and to postmodernism scholars more broadly. 

A critical examination of modernist poetry and the demands of leftist literary theory.

Different as they were as poets, Wallace Stevens, E. E. Cummings, Robert Frost, and William Carlos Williams grappled with the highly charged literary politics of the 1930s in comparable ways. As other writers moved sharply to the Left, and as leftist critics promulgated a proletarian aesthetics, these modernist poets keenly felt the pressure of the times and politicized literary scene. All four poets saw their reputations critically challenged in these years and felt compelled to respond to the new politics, literary and national, in distinct ways, ranging from rejection to involvement.

Beleaguered Poets and Leftist Critics closely examines the dynamics of these responses: what these four poets wrote—in letters, essays, lectures, fiction (for Williams), and most importantly, in their poems; what they believed politically and aesthetically; how critics, particularly leftist critics, reviewed their work; how these poets reacted to that criticism and to the broader milieu of leftism. Each poet’s response and its subsequent impact on his poetic output is a unique case study of the conflicting demands of art and politics in a time of great social change. 
 

In the first, most intense years of the Cold War (1947–1954), New Deal liberals often found themselves in great disfavor. Ben Shahn's experience presents something of a paradox, however, since his paintings appealed in different ways to both liberals and conservatives. Blacklisted by CBS during the McCarthy era and yet, ironically, incorporated into presidential "campaigns of truth" aimed at improving the U.S. image abroad, Ben Shahn is a pivotal figure, revealing the complexities and contradictions inherent in this highly polarized moment in American history.

In this pathbreaking study, Frances Pohl traces the political and artistic struggles Ben Shahn became embroiled in as he tried to remain a socially concerned artist during the early Cold War period. She shows how he rejected the argument, voiced by many Abstract Expressionists, that art and politics should not mix, yet at the same time searched for a way to depict, in universal and allegorical terms, the broad human condition rather than simply specific instances of injustice. Perhaps most important, she makes critical connections between U.S. social and political history and the art it provoked, thus illuminating both the later career of Ben Shahn and the Cold War era in American cultural history.

Using composite digital photography, self-taught artist Bertrand Meniel incorporates more detail into each of his cityscapes than any other Photorealist to date.

Photorealism is a genre of painting that developed in the United States and Europe using high-resolution photography as its primary source material. Embracing digital photography perhaps more than any other artist working in this genre, Bertrand Meniel is able to incorporate an astonishing amount of detail into his renderings of cityscapes in New York City, Miami, and Paris. Using a variety of photographs of his chosen subject, he manipulates an image to perfection, focusing simultaneously on the foreground and background by combining hundreds of shots on a computer screen.

His choice to depict iconic American scenes in his paintings, particularly those associated with the “American Way of Life,” reflects not just a technical mastery of Photorealism but a deep emotional connection to the culture that captivated him during his youth. His unique perspective, influenced by French artistic traditions and shaped by exposure to American pop culture, allows him to capture in his art the essence of what may be best described as the “New York State of Mind."

Sink your teeth into a big, bold, and unabashed celebration of a quintessential Wisconsin food. 

Wisconsin is famous for its world-class cheeses and its “beer state” moniker. But every Wisconsinite knows that no tailgate party or backyard barbecue is complete without a grill full of sizzling hot brats. Or Polish sausages. Or good ol’ Oscar Mayer wieners. From charcuterie boards to chorizo, sausage is an essential ingredient in the state’s cultural identity. In this lively, comprehensive ode to the link, writer and storyteller Jesse Brookstein embarks on a quest to show why Wisconsin is the sausage maker to the world. 

Best of the Wurst traces the long arc of sausage making in the state, starting with First Nations communities who used pemmican as a staple food source. It features subsequent immigrant groups—German, Polish, Italian, Thai, Mexican, and more—who brought their own sausage recipes and traditions, and lands squarely on today’s bustling sausage scene. A final chapter, “The Future of Sausage,” explores emerging trends, tastes, and technologies—offering a peek at what’s next for Wisconsin’s revered food. 

Brookstein travels the state to meet the people behind the links and captures the culture, craft, and quirks that make Wisconsin sausages unlike those found anywhere else.  Profiles of standout producers are threaded throughout, from household names like Usinger’s and Johnsonville to family-run shops that have fed communities for generations. Brookstein also highlights the professionals shaping the field today, including graduates of UW–Madison’s Master Meat Crafter Program and chefs who feature local sausage in their menus with pride. 

Readers will get insights from master butchers, small-town sausage savants, big-name producers, and superfans reflecting on hotly debated topics like seasonings, casings, and the eternal question: “Should you parboil?” And memorable traditions—such as Sheboygan’s double brat on a hard roll, the ceremonial slicing of La Crosse’s Golden Brat, Madison’s world’s largest Brat Fest, and the show-stealing Milwaukee Brewers’ Famous Racing Sausages—showcase the sausage’s indelible mark on the state. 

Featuring 150 color photos and packed with humor and an insider’s appreciation for the art of stuffing a perfect link, Best of the Wurst encases these stories, people, and places in a perfect blend of history and heart. Wisconsinites love eating sausages—and now you can enjoy reading about them too.

Winner of the 2012 National Book Award for Poetry.

To read David Ferry’s Bewilderment is to be reminded that poetry of the highest order can be made by the subtlest of means. The passionate nature and originality of Ferry’s prosodic daring works astonishing transformations that take your breath away. In poem after poem, his diction modulates beautifully between plainspoken high eloquence and colloquial vigor, making his distinctive speech one of the most interesting and ravishing achievements of the past half century. Ferry has fully realized both the potential for vocal expressiveness in his phrasing and the way his phrasing plays against—and with—his genius for metrical variation. His vocal phrasing thus becomes an amazingly flexible instrument of psychological and spiritual inquiry. Most poets write inside a very narrow range of experience and feeling, whether in free or metered verse. But Ferry’s use of meter tends to enhance the colloquial nature of his writing, while giving him access to an immense variety of feeling. Sometimes that feeling is so powerful it’s like witnessing a volcanologist taking measurements in the midst of an eruption.     

From Bewilderment:

October

The day was hot, and entirely breathless, so
The remarkably quiet remarkably steady leaf fall
Seemed as if it had no cause at all.

The ticking sound of falling leaves was like
The ticking sound of gentle rainfall as
They gently fell on leaves already fallen,

Or as, when as they passed them in their falling,
Now and again it happened that one of them touched
One or another leaf as yet not falling,

Still clinging to the idea of being summer:
As if the leaves that were falling, but not the day,
Had read, and understood, the calendar.