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This volume provides the most comprehensive overview of archaeological research into the late Pleistocene and early Holocene occupation of the North American Far West in over a decade. It focuses on the relationship between stemmed and fluted point technologies in the region, which has recently risen to the forefront of debate about the initial settlement of the Americas. Established and early career researchers apply a wide range of analytical approaches to explore chronological, geographical, and technological aspects of these tools and what they reveal about the people who made them. While such interrelationships have intrigued archaeologists for nearly a century, until now they have not been systematically examined together in a single curated volume.

Contributions are organized into three main sections: stemmed point technologies, fluted point technologies, and broader interactions. Topics range from regional overviews of chronologies and technologies to site-level findings containing extensive new data. The culmination of many years of work by dozens of researchers, this volume lays new groundwork for understanding technological innovation, diversity, and exchange among early Indigenous peoples in North America.

Curriculum of the Mind is a groundbreaking hip-hop album that transforms the boundaries of scholarship, sound, and storytelling. A deeply personal and political intervention into the structures of higher education, the project speaks directly to the soul of education, identity, and cultural resilience. Part collective memoir, part mixtape, and part political manifesto, Curriculum of the Mind invites readers and listeners alike into a world where turntables become textbooks, beats carry the weight of history, and samples act as archives of Black life.

Produced by Stevie “Dr. View” Johnson, this album features the work of Black students, parents, creatives, and prospective college-goers who rarely see themselves reflected in academia. At the same time, it challenges educators, librarians, and institutions to rethink what learning looks and sounds like in the 21st century. The album draws from and contributes to interdisciplinary fields including Black studies, critical race theory, performance studies, and hip-hop pedagogy. Through powerful mashups and lyrical reflections, Dr. View and The Space Program explore themes of educational trauma, invisibility, intergenerational resilience, and the radical potential of sound as a vehicle for theorizing lived experience. Paired with a written preface, the project challenges the primacy of text-based knowledge, asserting that sound, emotion, and memory are equally valid forms of intellectual inquiry—and that scholarship can, and should, be a collective effort. As a model for the future of performance-based scholarship, Curriculum of the Mind proves that hip-hop is not only music—it’s a method, a memory, and a movement.

How do early modern media underlie today’s digital creativity? 

In Cut/Copy/Paste, Whitney Trettien journeys to the fringes of the London print trade to uncover makerspaces and collaboratories where paper media were cut up and reassembled into radical, bespoke publications. Bringing these long-forgotten objects back to life through hand-curated digital resources, Trettien shows how early experimental book hacks speak to the contemporary conditions of digital scholarship and publishing. As a mixed-media artifact itself, Cut/Copy/Paste enacts for readers what Trettien argues: that digital forms have the potential to decenter patriarchal histories of print.

From the religious household of Little Gidding—whose biblical concordances and manuscripts exemplify protofeminist media innovation—to the queer poetic assemblages of Edward Benlowes and the fragment albums of former shoemaker John Bagford, Cut/Copy/Paste demonstrates history’s relevance to our understanding of current media. Tracing the lives and afterlives of amateur “bookwork,” Trettien creates a method for identifying and comprehending hybrid objects that resist familiar bibliographic and literary categories. In the process, she bears witness to the deep history of radical publishing with fragments and found materials.

With many of Cut/Copy/Paste’s digital resources left thrillingly open for additions and revisions, this book reimagines our ideas of publication while fostering a spirit of generosity and inclusivity. An open invitation to cut, copy, and paste different histories, it is an inspiration for students of publishing or the digital humanities, as well as anyone interested in the past, present, and future of creativity.

Cutting Life Short challenges the idea that people who commit murder or other serious crimes are incapable of rehabilitation. The book tracks the growing population of people serving life in Wyoming and the US and explores research that indicates that much of the public, including victims of violent crime, support second chances for people who are serving excessive sentences.

Just over 200,000 Americans are now serving life sentences—more than the entire US prison population in 1970—in a cruel and fiscally irresponsible system, even though many inmates have demonstrated sustained rehabilitation over decades. Through individual case studies of Wyoming inmates, ranging from those who deserve release to rare cases like Matthew Shepard’s killer, who should remain imprisoned, the book explores themes of punishment, redemption, and justice reform while examining issues like prosecutorial misconduct, three-strike penalties, and restorative justice programs. Cases include the stories of Darla Rouse (one of Wyoming’s few commutation recipients), Russell Harrison (who claims he had an early release deal), and James Koester (whose investigating detective became his advocate). Drawing from a decade of experience on the Wyoming parole board, where he witnessed hundreds of rehabilitated inmates denied release despite widespread support from corrections officials and sometimes even victims, author Daniel Fetsco advocates creating systematic review processes for lengthy sentences that remove elected officials from clemency decisions, alongside broader reforms like restoring voting rights for former felons and promoting responsible crime reporting over fear-mongering sensationalism.

This forward-looking book argues that most of the people sentenced to life in prison can be, and should have been, safely released into the community and offers recommendations to help alleviate the problems associated with life sentences in Wyoming and across the US criminal justice system. It is of significance to students, scholars, professionals, and the general public invested in law, criminal justice and social justice.

Cutting, a form of self-mutilation, is a growing problem in the United States, especially among adolescent females. It is regarded as self-destructive behavior, yet paradoxically, people who cut themselves generally do not wish to die but to find relief from unbearable psychological pain. 

Cutting and the Pedagogy of Self-Disclosure is the first book to explore how college students write about their experiences as cutters. The idea behind the book arose when Patricia Hatch Wallace, a high school English teacher, wrote a reader-response diary for a graduate course taught by Professor Jeffrey Berman in which she revealed for the first time that she had cut herself twenty years earlier. At Berman's suggestion, Wallace wrote her Master's thesis on cutting. Not long after she finished her thesis, two students in Berman's expository writing course revealed their own experiences as cutters. Their disclosures encouraged several students in another writing class to share their own cutting stories with classmates. Realizing that so many students were writing about the same phenomenon, Berman and Wallace decided to write a book about a subject that is rarely discussed inside or outside the classroom. 

In Part 1, Wallace discusses clinical and theoretical aspects of cutting and then applies these insights to several memoirs and novels, including Susanna Kaysen's Girl, Interrupted, Caroline Kettlewell's Skin Game, and Patricia McCormick's Cut. The motivation behind Wallace's research was the desire to learn more about herself, and she reads these stories through her own experience as a cutter. In Part 2, Berman focuses on the pedagogical dynamics of cutting: how undergraduate students write about cutting, how their writings affect classmates and teachers, and how students who cut themselves can educate everyone in the classroom about a problem that has personal, psychological, cultural, and educational significance.

He was the winner of 511 major league baseball games, nearly a hundred more than any other pitcher. He threw three no-hitters, including the first perfect game in the new American League. He was among the original twelve players inducted into baseball's Hall of Fame, and his name is now attached to the game's most prestigious pitching award. Yet for all his accomplishments, Cy Young remains to most baseball fans a legendary but little known figure. 

In this book, Reed Browning re-creates the life of Denton True “Cyclone” Young and places his story in the context of a rapidly changing turn-of-the-century America. Born in rural Ohio, the son of a Civil War veteran, Young learned his trade at a time when only underhand pitching was permitted. When he began his professional career in 1890, pitchers wore no gloves and stood five feet closer to the batter than they do today. By the time he retired in 1911, the game of baseball had evolved into its modern form and claimed unquestioned status as America's “national pastime.” 

As Browning shows, Young's extraordinary mastery of his craft owed much to his ability to adapt to the changing nature of the game. Endowed with an exceptional fastball, he gradually developed a wide array of deliveries and pitches—all of which he could throw with astonishing control. Yet his success can also be attributed, at least in part, to the rustic values of loyalty, hard work, and fair play that he embraced and embodied, and for which he became renowned among baseball fans of his day.

In communities throughout precontact Mesoamerica, calendar priests and diviners relied on pictographic almanacs to predict the fate of newborns, to guide people in choosing marriage partners and auspicious wedding dates, to know when to plant and harvest crops, and to be successful in many of life's activities. As the Spanish colonized Mesoamerica in the sixteenth century, they made a determined effort to destroy these books, in which the Aztec and neighboring peoples recorded their understanding of the invisible world of the sacred calendar and the cosmic forces and supernaturals that adhered to time. Today, only a few of these divinatory codices survive. Visually complex, esoteric, and strikingly beautiful, painted books such as the famous Codex Borgia and Codex Borbonicus still serve as portals into the ancient Mexican calendrical systems and the cycles of time and meaning they encode.

In this comprehensive study, Elizabeth Hill Boone analyzes the entire extant corpus of Mexican divinatory codices and offers a masterful explanation of the genre as a whole. She introduces the sacred, divinatory calendar and the calendar priests and diviners who owned and used the books. Boone then explains the graphic vocabulary of the calendar and its prophetic forces and describes the organizing principles that structure the codices. She shows how they form almanacs that either offer general purpose guidance or focus topically on specific aspects of life, such as birth, marriage, agriculture and rain, travel, and the forces of the planet Venus. Boone also tackles two major areas of controversy—the great narrative passage in the Codex Borgia, which she freshly interprets as a cosmic narrative of creation, and the disputed origins of the codices, which, she argues, grew out of a single religious and divinatory system.

The simple question "How did the Maya come up with a calendar that had only 260 days?" led Vincent Malmström to discover an unexpected "hearth" of Mesoamerican culture. In this boldly revisionist book, he sets forth his challenging, new view of the origin and diffusion of Mesoamerican calendrical systems—the intellectual achievement that gave rise to Mesoamerican civilization and culture.

Malmström posits that the 260-day calendar marked the interval between passages of the sun at its zenith over Izapa, an ancient ceremonial center in the Soconusco region of Mexico's Pacific coastal plain. He goes on to show how the calendar developed by the Zoque people of the region in the fourteenth century B.C. gradually diffused through Mesoamerica into the so-called "Olmec metropolitan area" of the Gulf coast and beyond to the Maya in the east and to the plateau of Mexico in the west.

These findings challenge our previous understanding of the origin and diffusion of Mesoamerican civilization. Sure to provoke lively debate in many quarters, this book will be important reading for all students of ancient Mesoamerica—anthropologists, archaeologists, archaeoastronomers, geographers, and the growing public fascinated by all things Maya.