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Sally Chivers provides a fascinating look at and challenge to how North American popular culture has portrayed old age as a time of disease, decline, and death. Within contemporary Canadian literary and film production, a tradition of articulate central elderly female characters challenges what the aging body has come to signify in a broader cultural context. Rather than seek positive images of aging, which can do their own prescriptive damage, the author focuses on constructive depictions that provide a basis on which to create new stories and readings of growing old. This type of humanities approach to the study of aging promises neither to fixate on nor avoid consideration of the role of the body in the much broader process of getting older. The progression implied in the title from the solitary symbol of The Old Woman toward a community of older women, indicates not a move toward euphemism, but rather an increasing and necessary awareness of the social and cultural dimensions of aging.

Exploring the tension between freedom and fidelity, Faithful Error meditates on life’s most sacred and often difficult loves—romantic, parental, familial, and spiritual—against a backdrop of environmental unease. These poems, rich in natural imagery, trace an emotional journey from intimate contemplation to transcendent questioning, grappling with the value of devotion in a world seemingly designed to extinguish hope. A palpable emotional intensity simmers beneath the restrained language, mirroring the manuscript's central dynamic: a yearning to err, yet ultimately finding freedom in a return—however complicated—to faith.

Winner of the Brazilian Studies Association’s Roberto Reis Book Award for First Monograph • Honorable Mention for the Latin American Studies Association’s Antonio Candido Book Award • Shortlisted for the Association for the Study of Literature and Environment Book Award 

Fictional Environments: Mimesis, Deforestation, and Development in Latin America investigates how fictional works have become sites for the production of knowledge, imagination, and intervention in Latin American environments. It investigates the dynamic relationship between fictional images and real places, as the lasting representations of forests, rural areas, and deserts in novels clash with collective perceptions of changes like deforestation and urbanization.

From the backlands of Brazil to a developing Rio de Janeiro, and from the rainforests of Venezuela and Peru to the Mexican countryside, rapid deforestation took place in Latin America in the second half of the twentieth century. How do fictional works and other cultural objects dramatize, resist, and intervene in these ecological transformations? Through analyses of work by João Guimarães Rosa, Alejo Carpentier, Juan Rulfo, Clarice Lispector, and Mario Vargas Llosa, Victoria Saramago shows how novels have inspired conservationist initiatives and offered counterpoints to developmentalist policies, and how environmental concerns have informed the agendas of novelists as essayists, politicians, and public intellectuals. This book seeks to understand the role of literary representation, or mimesis, in shaping, sustaining, and negotiating environmental imaginaries during the deep, ongoing transformations that have taken place from the 1950s to the present.

U.S. foreign policy has long been built on a dichotomy of an irreplaceable “here” and an expendable “there.” In his 2003 announcement of the military campaign in Iraq, George W. Bush declared that we would fight in the Middle East so we wouldn’t have to fight “on the streets of our cities.” But what do the millions of people who live over “there” have to say about U.S. interventions and the displacement they provoke?

In this pathbreaking study, Alaina Kaus analyzes literature by and about refugees who fled Southeast Asia, Central America, the Caribbean, North Africa, and the Middle East, in the wake of U.S. military occupation and economic intervention. Narratives by authors such as Lan Cao, Viet Thanh Nguyen, Demetria Martínez, Héctor Tobar, Dave Eggers, Mohsin Hamid, and Riverbend reveal contradictions in the human rights pledges that undergird U.S. foreign policy, which promote freedom while authorizing intervention and displacement, and favor market-based solutions over social justice and racial equality.

Winner, 2015 LAJSA Best Book in Latin American Jewish Studies

The practices of interrogation, torture, and confession have resurfaced in public debates since the early 2000s following human rights abuses around the globe. Yet discussion of torture has remained restricted to three principal fields: the legal, the pragmatic, and the moral, eclipsing the less immediate but vital question of what torture does.Figurative Inquisitions seeks to correct this lacuna by approaching the question of torture from a literary vantage point.

This book investigates the uncanny presence of the Inquisition and marranismo (crypto-Judaism) in modern literature, theater, and film from Mexico, Brazil, and Portugal. Through a critique of fictional scenes of interrogation, it underscores the vital role of the literary in deconstructing the relation between torture and truth. Figurative Inquisitions traces the contours of a relationship among aesthetics, ethics, and politics in an account of the "Inquisitional logic" that continues to haunt contemporary political forms. In so doing, the book offers a unique humanistic perspective on current torture debates.

A powerful debut and a lyric coming-of-age narrative that interrogates the myths we carry

In Find Me When You’re Ready, Perry Janes traces a sweeping journey from Detroit to Los Angeles. As he leaves home and forges toward California, the speaker in these poems considers how we learn and mislearn ideas about manhood, confronts the aftershocks of childhood sexual abuse, and questions the human need for belonging. By embracing the touchstones of youth—movies, lore, graphic novels—these poems assert the speaker’s defiant right to childhood even amid damage.

As the collection arcs toward adulthood, the speaker embodies a vision of healing that refuses easy binaries and embraces the joys of intimacy. Across each of its five acts, Perry Janes’s debut collection is driven by an interest troubling our creation myths, asking who built them, why we carry them, and how we might set them aside.

Examining the power of speculative fiction to reimagine historical accounts of the conquest of the Americas

The historical conquest of the Americas resides at the core of all first-contact narratives, which stage colonization and resistance in the generic guise of speculative fiction. Starting from this axiom, First Contact: Speculative Visions of the Conquest of the Americas moves through a corpus of Mexican novels, Andean visual arts practices, and other cultural artifacts that have dramatized counterfactual narratives. Reimagining the early colonial period’s historiography from a south-to-north directionality while inventing parallel realities, these texts, which are concerned with limit cases, alterities, and alternative temporalities, refuse any reliance on the imperial ontologies of European expansion. Zac Zimmer examines these works to explore the slippage that exists between science fiction as the exemplary genre of the modern, colonial reality and literary speculation as an aesthetic tool that can be used to imagine other possible worlds. First Contact thus poses a foundational question: Can we understand the conquest as an originary world-historical event without eclipsing the other cosmologies that existed, and continue to exist, within the contact zone? Can we decolonize the speculative imagination itself?

This illustrated volume examines the different methods artists and anatomists used to reveal the inner workings of the human body and evoke wonder in its form.

For centuries, anatomy was a fundamental component of artistic training, as artists such as Leonardo da Vinci and Michelangelo sought to skillfully portray the human form. In Europe, illustrations that captured the complex structure of the body—spectacularly realized by anatomists, artists, and printmakers in early atlases such as Andreas Vesalius’s De humani corporis fabrica libri septem of 1543—found an audience with both medical practitioners and artists.

Flesh and Bones examines the inventive ways anatomy has been presented from the sixteenth through the twenty-first century, including an animated corpse displaying its own body for study, anatomized antique sculpture, spectacular life-size prints, delicate paper flaps, and 3-D stereoscopic photographs. Drawn primarily from the vast holdings of the Getty Research Institute, the over 150 striking images, which range in media from woodcut to neon, reveal the uncanny beauty of the human body under the skin.

This volume is published to accompany an exhibition on view at the Getty Research Institute at the Getty Center from February 22 to July 10, 2022.

From former U.S. poet laureate Juan Felipe Herrera comes a searing bilingual collection that speaks directly to America and all its peoples. Flourishing Shadows / Sombras Florecientes is a lyrical journey through migration, memory, and resistance—an urgent address to a nation grappling with its identity. Blending autobiography and Indigenous, Chicanx, and Beat traditions, Herrera reclaims language as a tool of compassion and truth. With ink drawings and evocative verse, this book honors the migrants who traverse borders and histories, flourishing even in the shadows. A call to listen, to remember, and to act.

More than a poetic critique, this book initiates a conversation—a direct address to readers that invites reflection, solidarity, and action. Drawing on his anthropological training and lived experience, Herrera weaves together the cultural richness of Indigenous Mexico, the urban vibrancy of San Francisco’s literary scene, and the enduring legacy of migrant journeys. Flourishing Shadows / Sombras Florecientes is a vital addition to the Camino del Sol series and a powerful testament to the resilience and humanity of those too often relegated to the margins.

CALIBA’s 2025 Golden Poppy Book Award Winner, Poetry

The shadow of mothering has never been given a richer, fuller, more debased vision than in Youna Kwak’s For This and Other Cruelties. Kwak casts a cold eye on the splendid and cruel intransigence of maternal paradoxes in all their impossible double binds, monstrous pleasures, and profane mystifications. Shifting between lyric and prose poems, this collection throws slanted light on the ineffability of our deepest attachments, envisioning a world where mother is “a creature whose only enemy could be human.” Kwak brings us face to face with the irreconcilable facts of being mother, mothered, and alive.

A collection of poems envisioned as a magic wardrobe of mirrors, vast with ocean and meadow, revealing reflections of the muses, a deer woman, and a sea-monster lover.

Forever Mistaken for Ourselves tells a story of transformations. Iron dresses, veils nailed to an hourglass, and a sex-changing flower/human defy or define a woman and her place in daily life and history. Queen Anne's black lace leaves holes open for a ghost. Never just coy, these characters and artifacts get up and do battle with complacency, in an all too often misogynistic world. Beasts come and go through the mirrors, a fish-man breaking through to deliver a whole-body kiss to a woman. Forests rise, and lawns “lean lethargies” to hold the reflected images of the speakers. Is there a confirmation of existence? “If she is—a silver say-so.”

Presents alternative categories of fiction through which to examine how contemporary writers have envisaged Africa’s changing literary terrains

Stephanie Bosch Santana analyzes southern African writers’ experimentations with literary form in periodical print and digital media since the mid-twentieth century in order to offer an alternative account of contemporary African imaginations of mobility. Based on an understudied archive of texts in English and Chichewa/Nyanja from Malawi, South Africa, Zimbabwe, and Zambia, Forms of Mobility: Genre, Language, and Media in African Literary Cultures examines new, noncanonical categories of fiction, including migrant forms, township tales, weekend stories, and digital diaries. These generically, linguistically, and geographically mobile forms map changing ideas of interconnection and belonging. By reading them “in motion,” as they travel across space, time, genre, and language and between publications and platforms, Bosch Santana limns multiple centers of literary influence and relation across southern African and Black diasporas, revealing forms of literary mobility and space making that are occluded by current models of world literature.

With each passing year, the number of family farms in the United States diminishes. Fewer people have the persistence and ingenuity to wrest a livelihood from the land in an era of corporate ownership and mass production. Yet some family farms survive. 

Through words and photographs, this book documents the long lives of five of the oldest farms in Massachusetts. Each has remained in the same family for more than two, sometimes three, centuries and each has a distinctive history. The devotion to the land and family heritage is palpable in the stories these five families tell. 

Stan Sherer’s remarkable photographs depict the activities of the family members as they go about their daily labors, planting crops, feeding animals, applying new technologies to ancient tasks, and coping with the vagaries of weather and state regulations. Michael E. C. Gery’s narrative traces how the farms began, what has sustained them through the generations, and how the families who run them today feel about their past, present, and future. These stories are told largely through the words of the people themselves. 

The result is a complex portrait that moves beyond traditional stereotypes to reveal the realities of family farm life in an increasingly urbanized society. 

In Full-Time Mammal, perception becomes both subject and site of excavation. Rennie Ament wrestles with what it means to be awake and aware in a disorienting world. How are you supposed to know what you don’t know? As ancient defense mechanisms fail, the brain must be retrained, and poetry becomes a divination tool, a game, a portal, a potential weapon, a way through fog.

Survival requires becoming a poet-cum-scientist. Drool becomes data. Ants carry thoughts to rot beneath earth. Animals, plants, and objects are not symbols but companionate presences. This collection feels its way through the failure of imagination at the heart of preordained systems, turning to the natural world not for refuge, but reinvention.
 

An unforgettable visual journey through the kingdom of fungi, both enigmatic and entrancing.

Recyclers, creators of soil, enablers of life, and food for many—fungi are as dynamic as they are diverse. And, throughout her career, Alison Pouliot has observed these organisms with a unique vision. As a scientist and photographer, she has led hundreds of forays through the forests of the Americas, Australia, and Europe. In this book, readers can travel along with her on these global explorations through stunning photographs and meditations on the landscape. She says her camera is where fungal lives come most clearly into focus. And like the camera obscura, this book, Funga Obscura, captures brief mycological moments and unforgettable fungus microcosms.

The word funga refers to the fungi of a region, and Pouliot’s photography spans continents. We see a parade of violet webcap mushrooms, spotted in the understory of a Pacific Northwest forest; brilliantly blue pixie’s parasols in Australia; an Italian alpine lichen, looking for all the world like a treasure map; and a showstopping whitelaced shank, ready to spread its spores in Switzerland. We learn that fungi live almost everywhere, from our lawns to forests and woodlands, from the ocean’s depths to deserts and alpine peaks. Yet, like a web of rootlike mycelium, Funga Obscura goes deeper to investigate how fungi shape landscapes and interact with other organisms, including humans. This journey spans eons, from long ago in evolutionary time, when fungi first emerged from the ocean onto land, to today, when we witness their work all around us. The scenes here challenge our ideas about what fungi are, what they do, and why they matter.

In Pouliot’s photographs, you might recognize a few old friends, but many mushrooms will be new acquaintances. Sometimes they make their presence immediately known; at other times, they just provide clues—and trails to follow.