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After Abraham Lincoln's assassination in 1865, William H. Herndon began work on a brief, "subjective" biography of his former law partner, but his research turned up such unexpected and often startling information that it became a lifelong obsession. The biography finally published in 1889, Herndon's Lincoln, was a collaboration with Jesse W. Weik in which Herndon provided the materials and Weik did almost all the writing. For this reason, and because so much of what Herndon had to say about Lincoln was not included in the biography, David Donald has observed, "To understand Herndon's own rather peculiar approach to Lincoln biography, one must go back to his letters." An exhaustive collection of what Herndon was told by others about Lincoln was published by Douglas L. Wilson and Rodney O. Davis in Herndon's Informants: Letters, Interviews, and Statements about Abraham Lincoln . In this new volume, Wilson and Davis have produced a comprehensive edition of what Herndon himself wrote about Lincoln in his own letters. Because of Herndon's close association with Lincoln, his intimate acquaintance with his partner's legal and political careers, and because he sought out informants who knew Lincoln and preserved information that might otherwise have been lost, his letters have become an indispensable resource for Lincoln biography. Unfiltered by a collaborator and rendered in Herndon's own distinctive voice, these letters constitute a matchless trove of primary source material. Herndon on Lincoln: Letters is a must for libraries, research institutions, and students of a towering American figure and his times.

Winner of the Abraham Lincoln Institute Book Award

More than 600 letters and interviews providing information about Abraham Lincoln's prepolitical and prelegal careers are included in this volume, a priceless collection never before available in one place.

Women to whom Lincoln proposed marriage, political allies and adversaries, judges and fellow attorneys, longtime comrades, erstwhile friends--all speak out here in words first gathered by William H. Herndon, Lincoln's law partner, between 1865 and 1890. Historian David Herbert Donald has called Herndon's materials "the basic source for Abraham Lincoln's early years."

Some of those Herndon questioned were illiterate; others could read but barely write. Completion of this undertaking took the editors to three major collections for the mammoth task of transcribing documents that often were nearly illegible.

Invaluable to Lincoln scholars and intriguing to anyone curious about Lincoln and his times, the book includes an introduction, scholarly annotations, a registry of the informants, and a detailed topical index.

Roger Ebert was the most influential film critic in the United States, the first to win a Pulitzer Prize. For almost fifty years, he wrote with plainspoken eloquence about the films he loved for the Chicago Sun-Times, his vast cinematic knowledge matched by a sheer love of life that bolstered his appreciation of films. Ebert had particular admiration for the work of director Werner Herzog, whom he first encountered at the New York Film Festival in 1968, the start of a long and productive relationship between the filmmaker and the film critic.

Herzog by Ebert is a comprehensive collection of Ebert’s writings about the legendary director, featuring all of his reviews of individual films, as well as longer essays he wrote for his Great Movies series. The book also brings together other essays, letters, and interviews, including a letter Ebert wrote Herzog upon learning of the dedication to him of “Encounters at the End of the World;” a multifaceted profile written at the 1982 Cannes Film Festival; and an interview with Herzog at Facet’s Multimedia in 1979 that has previously been available only in a difficult-to-obtain pamphlet. Herzog himself contributes a foreword in which he discusses his relationship with Ebert.

Brimming with insights from both filmmaker and film critic, Herzog by Ebert will be essential for fans of either of their prolific bodies of work.
 

Hidden Tapestry reveals the unforgettable story of Flemish American artist Jan Yoors—childhood vagabond, wartime Resistance fighter, and polyamorous New York bohemian. At the peak of his fame in the 1970s, Yoors’s photographs and vast tapestries inspired a dedicated following in his adopted Manhattan and earned him international acclaim. Though his intimate friends guessed the rough outline of his colorful life, Hidden Tapestry is first to detail his astonishing secrets.

At twelve, Jan’s life took an extraordinary and unexpected turn when, lured by stories of Gypsies, he wandered off with a group of Roma and continued to live on-and-off with them and with his own family for several years. As an adult in German-occupied France, Yoors joined the Resistance and persuaded his adoptive Roma family to fight alongside him. Defying repeated arrests and torture by the Gestapo, he worked first as a saboteur and later escorted Allied soldiers trapped behind German lines across the Pyrenees to freedom.

After the war, he married childhood friend Annabert van Wettum and embarked on his career as an artist. When a friend of Annabert’s, Marianne Citroen, modeled for Yoors, the two began an affair, which led the three to form a polyamorous family that would last for the rest of their lives. Moving to New York, the trio became part of the bohemian life of Greenwich Village in the 1950s.

Told in arresting detail by Debra Dean, best-selling author of The Madonnas of Leningrad, Yoors’s story is a luminous and inspiring account of resilience, resourcefulness, and love.

Of the Rosenbluth family, only the older children, Faiga and Luzer, had gone into hiding before the SS rounded up the Jews of Kanczuga, Poland. Hidden is Faiga and Luzer’s story, a memoir whose intimate and quiet particularity makes the incomprehensible enormity of the Holocaust immediate, human, and devastatingly real.
In alternating first-person narratives, Faiga (Fay) and Luzer (Leo) take readers into their very different but inextricably linked experiences in Nazi-occupied Poland. Faiga, the once-dignified young lady from a good home with servants and a seat by the eastern wall of the synagogue, spends two years wandering the perilous countryside, hoping to be taken for a peasant. Mere miles away, knowing nothing of his sister’s fate, Luzer, the leather wholesaler’s only son, lies silent all day in the stifling dark corner of a barn, where the smell of the cows’ warm hides are a piquant reminder of his lost world. Hidden deftly summons that world, as the familiar comforts and squabbles of life in a well-to-do, religious Jewish family are slowly overwhelmed by the grim news coming out of Germany. We follow Faiga and Luzer through the early forebodings and deprivations of the war, into hiding among righteous Poles and erstwhile neighbors-turned-betrayers, and finally, at war’s end, back once more into the world—but not necessarily into safety. Told in a confident, clear, and unsentimental prose, this is a story of heroism and tragedy writ large and small, of two young people coming of age in a world in chaos and then trying to return to "normal" after experiences as unimaginable as they are unforgettable.

Born in 1905 and raised in Arkansas, Louise Thaden attended the University of Arkansas from 1921 to 1925 before moving to California, where she earned her pilot’s certificate in 1927. Within the year, she had broken the women’s world record for altitude and endurance. In 1929 she won the first Women’s Air Derby, a transcontinental race. Over the next several years, Thaden continued to set records and win awards until 1938 when she retired to spend more time with her family and write these memoirs.

When he started taking paying passengers by boat through the rapids of the Colorado River's canyons, Norman Nevills invented whitewater tourism and the commercial river business. For twelve years, from 1938 until his death in a plane crash in 1949, he safely took, without a single life lost, friends, explorers, and customers down the Colorado, Green, San Juan, Salmon, and Snake Rivers in boats he designed. National media found him and his adventures irresistible and turned him into the personification of river running. Logging seven trips through the Grand Canyon when no one else had completed more than two, he was called the Fast Water Man. Boatmen he trained went on to found their own competing operations. Always controversial, Nevills had important critics and enemies as well as friends and supporters, but no one can dispute his tremendous impact on the history of western rivers and recreation.

Nevills's complete extant journals of those river expeditions are published for the first time in High, Wide, and Handsome. They contain vivid stories and images of still untamed-by-dams rivers and canyons in the Colorado River system and elsewhere, of wild rides in wooden boats, and of the few intrepid pioneers of adventure tourism who paid Nevills so they could experience it all. They have been transcribed and edited by river historian Roy Webb, author of If We Had a Boat: Green River Explorers, Adventurers, and Runners and Call of the
Colorado.

In Hillary and Bill, William H. Chafe boldly argues that the trajectory of the Clintons' political lives can be understood only through the prism of their personal relationship. Inseparable from the day they first met, their personal dynamic has determined their political fates. Hillary was instrumental in Bill's triumphs as Arkansas's governor, and she saved his presidential candidacy in 1992 during the Gennifer Flowers sex scandal. He responded by delegating to her powers that no other First Lady had ever exercised. Chafe's penetrating insights—into subjects such as health care, Kenneth Starr, welfare reform, and the Lewinsky scandal—add texture and depth to our understanding of the Clintons' experience together. Hillary and Bill is the definitive account of the Clintons’ relationship and its far-reaching impact on American political life.

 

In this new edition, Chafe explores how Hillary adopted a new persona as a U.S. senator, returning to the consensus-oriented reformer she had been before she met Bill. Listening to her constituents and building bridges to Republicans in Congress, she left behind the us-against-them political personality of her White House years. She kept this persona as secretary of state, establishing personal ties with foreign leaders and reaching out to average citizens in the countries she visited. Still, she retained her obsession with her personal privacy and permitted the Clinton Foundation to create potential conflicts of interest with her government responsibilities. The key question, as she approached the 2016 presidential race, was which Hillary would be the presidential candidate—the person who reaches out to others and seeks collaborators or the Hillary who demonizes the opposition and fiercely protects her privacy and self-image.

 

America has gone Hamilton crazy. Lin-Manuel Miranda’s Tony-winning musical has spawned sold-out performances, a triple platinum cast album, and a score so catchy that it is being used to teach U.S. history in classrooms across the country. But just how historically accurate is Hamilton? And how is the show itself making history?

Historians on Hamilton brings together a collection of top scholars to explain the Hamilton phenomenon and explore what it might mean for our understanding of America’s history. The contributors examine what the musical got right, what it got wrong, and why it matters. Does Hamilton’s hip-hop take on the Founding Fathers misrepresent our nation’s past, or does it offer a bold positive vision for our nation’s future? Can a musical so unabashedly contemporary and deliberately anachronistic still communicate historical truths about American culture and politics? And is Hamilton as revolutionary as its creators and many commentators claim?

Perfect for students, teachers, theatre fans, hip-hop heads, and history buffs alike, these short and lively essays examine why Hamilton became an Obama-era sensation and consider its continued relevance in the age of Trump. Whether you are a fan or a skeptic, you will come away from this collection with a new appreciation for the meaning and importance of the Hamilton phenomenon.

In this engaging intellectual autobiography, Georges Duby looks back on a career that has led him to be called one of the most distinguished historians in the Western world.

Since its beginning in the 1940s, Duby's career has been rich and varied, encompassing economic history, social history, the history of mentalites, art history, microhistory, urban history, the history of women and sexuality, and, most recently, the Church's influence on feudal society. In retracing this singular career path, Duby candidly remembers his life's most formative influences, including the legendary historians Marc Bloch and Lucien Febvre, the Annales School so closely associated with them, and the College de France.

Duby also offers insights about the proper methods of gathering and using archival data and on constructing penetrating interpretations of the documents. Indeed, his discussion of how he chose his subjects, collected his materials, developed the arguments, erected the scaffolding and constructed his theses offers the best introduction to the craft available to aspiring historians.

Candid and charming, this book is both a memoir of one of this century's great scholars and a history of the French historical school since the mid-twentieth century. It will be required reading for anyone interested in the French academic milieu, medieval history, French history, or the recording of history in general.

Georges Duby, a member of the Academie francaise, for many years held the distinguished chair in medieval history at the College de France. His numerous books include The Age of Cathedrals; The Knight, the Lady, and the Priest; Love and Marriage in the Middle Ages; and The Three Orders—all published by the University of Chicago Press.

Though history and autobiography both claim to tell true stories about the past, historians have traditionally rejected first-person accounts as subjective and therefore unreliable. What then, asks Jeremy D. Popkin in History, Historians, and Autobiography, are we to make of the ever-increasing number of professional historians who are publishing stories of their own lives? And how is this recent development changing the nature of history-writing, the historical profession, and the genre of autobiography?

Drawing on the theoretical work of contemporary critics of autobiography and the philosophy of Paul Ricoeur, Popkin reads the autobiographical classics of Edward Gibbon and Henry Adams and the memoirs of contemporary historians such as Emmanuel Le Roy Ladurie, Peter Gay, Jill Ker Conway, and many others, he reveals the contributions historians' life stories make to our understanding of the human experience. Historians' autobiographies, he shows, reveal how scholars arrive at their vocations, the difficulties of writing about modern professional life, and the ways in which personal stories can add to our understanding of historical events such as war, political movements, and the traumas of the Holocaust.

An engrossing overview of the way historians view themselves and their profession, this work will be of interest to readers concerned with the ways in which we understand the past, as well as anyone interested in the art of life-writing.

With Hit Me, Fred, sensational sideman Fred Wesley Jr. moves front and center to tell his life story. A legendary funk, soul, and jazz musician, Wesley is best known for his work in the late sixties and early seventies with James Brown and as the leader of Brown’s band, Fred Wesley and the JB’s. Having been the band’s music director, arranger, trombone player, and frequent composer, Wesley is one of the original architects of funk music. He describes what it was like working for the Godfather of Soul, revealing the struggle and sometimes stringent discipline behind Brown’s tight, raucous tunes. After leaving Brown and the JB’s, Wesley arranged the horn sections for Parliament, Funkadelic, and Bootsy’s Rubber Band, and led Fred Wesley and the Horny Horns. Adding his signature horn arrangements to the P-Funk mix, Wesley made funk music even funkier.
Wesley’s distinctive sound reverberates through rap and hip-hop music today. In Hit Me, Fred, he recalls the many musicians whose influence he absorbed, beginning with his grandmother and father—both music teachers—and including mentors in his southern Alabama hometown and members of the Army band. In addition to the skills he developed working with James Brown, George Clinton, Bootsy Collins, and the many talented musicians in their milieu, Wesley describes the evolution of his trombone playing through stints with the Ike and Tina Turner Revue, Hank Ballard, and Count Basie’s band. He also recounts his education in the music business, particularly through his work in Los Angeles recording sessions.
Wesley is a virtuoso storyteller, whether he's describing the electric rush of performances when the whole band is in the groove, the difficulties of trying to make a living as a rhythm and blues musician, or the frustrations often felt by sidemen. Hit Me, Fred is Wesley’s story of music-making in all its grit and glory.

Hitchcock’s People, Places, and Things argues that Alfred Hitchcock was as much a filmmaker of things and places as he was of people. Drawing on the thought of Bruno Latour, John Bruns traces the complex relations of human and nonhuman agents in Hitchcock’s films with the aim of mapping the Hitchcock landscape cognitively, affectively, and politically. Yet this book does not promise that such a map can or will cohere, for Hitchcock was just as adept at misdirection as he was at direction. Bearing this in mind and true to the Hitchcock spirit, Hitchcock’s People, Places, and Things anticipates that people will stumble into the wrong places at the wrong time, places will be made uncanny by things, and things exchanged between people will act as (not-so) secret agents that make up the perilous landscape of Hitchcock’s work.

This book offers new readings of well-known Hitchcock films, including The Lodger, Shadow of a Doubt, Psycho, The Birds, and Marnie, as well as insights into lesser-discussed films such as I Confess and Family Plot. Additional close readings of the original theatrical trailer for Psycho and a Hitchcock-directed episode of Alfred Hitchcock Presents expand the Hitchcock landscape beyond conventional critical borders. In tracing the network of relations in Hitchcock’s work, Bruns brings new Hitchcockian tropes to light. For students, scholars, and serious fans, the author promises a thrilling critical navigation of the Hitchcock landscape, with frequent “mental shake-ups” that Hitchcock promised his audience.

"It's in the nature of things that whole worlds disappear," writes the poet Robert Hass in the foreword to Jimmye Hillman's insightful memoir. "Their vanishings, more often than not, go unrecorded or pass into myth, just as they slip from the memory of the living."

To ensure that the world of Jimmye Hillman's childhood in Greene County, Mississippi during the Great Depression doesn't slip away, he has gathered together accounts of his family and the other people of Old Washington village. There are humorous stories of hog hunting and heart-wrenching tales of poverty set against a rural backdrop shaded by the local social, religious, and political climate of the time. Jimmye and his family were subsistence farmers out of bare-bones necessity, decades before discussions about sustainability made such practices laudable.

More than just childhood memories and a family saga, though, this book serves as a snapshot of the natural, historical, and linguistic details of the time and place. It is a remarkable record of Southern life. Observations loaded with detail uncover broader themes of work, family loyalty, and the politics of changing times. 

Hillman, now eighty-eight, went on to a distinguished career as an economist specializing in agriculture. He realizes the importance of his story as an example of the cultural history of the Deep South but allows readers to discover the significance on their own by witnessing the lives of a colorful cast of characters. Hogs, Mules, and Yellow Dogs is unique, a blend of humor and reflection, wisdom and sympathy—but it's also a hard-nosed look at the realities of living on a dirt farm in a vanished world.
 

Hold On to Your Dreams is the first biography of the musician and composer Arthur Russell, one of the most important but least known contributors to New York's downtown music scene during the 1970s and 1980s. With the exception of a few dance recordings, including "Is It All Over My Face?" and "Go Bang! #5", Russell's pioneering music was largely forgotten until 2004, when the posthumous release of two albums brought new attention to the artist. This revival of interest gained momentum with the issue of additional albums and the documentary film Wild Combination. Based on interviews with more than seventy of his collaborators, family members, and friends, Hold On to Your Dreams provides vital new information about this singular, eccentric musician and his role in the boundary-breaking downtown music scene.

Tim Lawrence traces Russell's odyssey from his hometown of Oskaloosa, Iowa, to countercultural San Francisco, and eventually to New York, where he lived from 1973 until his death from AIDS-related complications in 1992. Resisting definition while dreaming of commercial success, Russell wrote and performed new wave and disco as well as quirky rock, twisted folk, voice-cello dub, and hip-hop-inflected pop. “He was way ahead of other people in understanding that the walls between concert music and popular music and avant-garde music were illusory,” comments the composer Philip Glass. "He lived in a world in which those walls weren't there." Lawrence follows Russell across musical genres and through such vital downtown music spaces as the Kitchen, the Loft, the Gallery, the Paradise Garage, and the Experimental Intermedia Foundation. Along the way, he captures Russell's openness to sound, his commitment to collaboration, and his uncompromising idealism.

Hollow and Home explores the ways the primary places in our lives shape the individuals we become. It proposes that place is a complex and dynamic phenomenon. Place refers to geographical and constructed places—location, topography, landscape, and buildings. It also refers to the psychological, social, and cultural influences at work at a given location. These elements act in concert to constitute a place.
 
Carlisle incorporates perspectives from writers like Edward S. Casey, Christian Norberg-Schulz, Yi-Fu Tuan, and Witold Rybczynski, but he applies theory with a light touch. Placing this literature in dialog with personal experience, he concentrates on two places that profoundly influenced him and enabled him to overcome a lifelong sense of always leaving his pasts behind. The first is Clover Hollow in Appalachian Virginia, where the author lived for ten years among fifth-, sixth-, and seventh-generation residents. The people and places there enabled him to value his own past and primary places in a new way. The story then turns to Carlisle’s life growing up in Delaware, Ohio. He describes in rich detail the ways the town shaped him in both enabling and disabling ways. In the end, after years of moving from place to place, Carlisle’s experience in Appalachia helped him rediscover his hometown—both the Old Delaware, where he grew up, and the New Delaware, a larger, thriving small city—as his true home.
 
The themes of the book transcend specific localities and speak to the relationship of self and place everywhere.
 

One of Missouri's best-known leaders of the Progressive Era, Joseph W. Folk epitomized the moral reformer in politics. As a crusading district attorney in St. Louis, Folk won national acclaim for his investigations of wrongdoing in municipal government. With the help of muckraking journalist Lincoln Steffens, Folk revealed for the first time the extent of political corruption then plaguing America's cities and helped bring about a popular demand for the regeneration of municipal government nationwide.

A firm believer that the law was a weapon with which to check political corruption and restrain powerful special interests, Folk popularized the "Missouri Idea," the doctrine that public office is a public trust, not merely an opportunity for private gain. Elected as governor of Missouri in 1904, Folk orchestrated a remarkable record of legislative accomplishment. He established himself as one of Missouri's outstanding governors and one of the nation's leading progressive reformers.

In asserting that traditional moral values could be applied to politics, Folk became known among friends and enemies as Holy Joe. His refusal to make any distinction between public and private morality, however, alienated some Missourians, while his disregard for party organization angered politicians. His idealism cost him political advancement and ultimately a place in national politics.

Whereas some studies of the Progressive Era have minimized the moral dimension of Progressivism and downplayed the importance of reformers like Joseph W. Folk, Holy Joe establishes him as a major leader of the Progressive movement. This biography will be a welcome addition to the literature on the subject.

Hob Osterlund moved to Hawai'i after being visited in a dream by an ancestor, Martha Beckwith, author of the monumental classic, Hawaiian Mythology. It was there, on the island of Kaua'i, where she happened upon a few courting albatross and felt an inexplicable attraction to the birds—an attraction too powerful to be explained by their beguiling airbrushed eye shadows, enormous wingspans, and rollicking dances.
 
In Hawaiian mythology, ancestors may occupy the physical forms of animals known as 'aumakua. Laysan albatross—known as moli—are among them. Smitten with these charismatic creatures, Osterlund set out to learn everything she could about moli. She eventually came to embrace them as her 'aumakua—not as dusty old myths on a museum bookshelf, but as breathing, breeding, boisterous realities.
 
Albatross sport many superlative qualities. They live long—sometimes longer than sixty years—and spend the majority of their time airborne, gliding across vast oceanic expanses. They are model mates and devoted parents, and are among the only animals known to take long-term same-sex partners. In nesting season, they rack up inconceivable mileage just to find supper for chicks waiting on the islands of the Hawaiian archipelago.
 
It is from the island of Kaua'i that Holy Moli takes flight.  Osterlund relates a true tale of courage, celebration and grief—of patience, affection and resilience. This is the story of how albatross guided the author on her own long journey, retracing distances and decades, back to the origin of a binding bargain she struck when she was ten years old, shortly after her mother’s death.
 
Holy Moli is a natural history of the albatross, a moving memoir of grief, and a soaring tribute to ancestors. Within its pages are lyrics of wonder—for freedom, for beauty, and for the far-flung feathered creatures known to us as albatross.

A fascinating reflection on family, identity, and belonging.

As someone who has studied history for much of my life, I have found the past fascinating. But it has always been some grand and even intimidating universe that I wanted to unpick and explain to myself.

Wang Gungwu is one of Asia’s most important public intellectuals. He is best known for his explorations of Chinese history in the long view and for his writings on the Chinese diaspora.  With Home is Not Here, the historian of grand themes turns to a single life history: his own.
Wang writes about his multicultural upbringing and life under British rule. He was born in Surabaya, Java, but his parents’ orientation was always to China. Wang grew up in the plural, multi-ethnic town of Ipoh, Malaya (now Malaysia). He learned English in colonial schools and was taught the Confucian classics at home. After the end of WWII and the Japanese occupation, he left for the National Central University in Nanjing to study alongside some of the finest of his generation of Chinese undergraduates. The victory of Mao Zedong’s Communist Party interrupted his education, and he ends this volume with his return to Malaya.

Wise and moving, Home Is Not Here speaks to the ability of the individual to find a place amid the historical currents that have shaped Asia and the world.

If he had not fouled out, maybe Washington State University’s center, James McKean, might have held Lew Alcindor (now Kareem Abdul-Jabbar) to only forty points. It was 1967, a transition year for college athletics in a dramatic time for those coming ofage. In this memoir set in the 1950s and 1960s, McKean revisits his years growing up in a family dedicated to sports and the outdoors, his playing basketball at Washington State University (for coaches Marv Harshman and Jud Heathcote), and his fashioning a life during and after basketball.
Driven by the energy and spirit of athletics, the language in Home Stand lights up McKean’s wonderfully eclectic work—the aunt who won a bronze medal in the 1936 Olympics in Berlin, his last run as a misguided drag racer, his playing basketball for a washing machine factory in Bologna, Italy, or against the prisoners in Walla Walla State Penitentiary—all seen in the context of turbulent times. Needless to say, Lew Alcindor scored his points and UCLA won, which they did every game that season. What James McKean took home was five fouls and a good story.
Home Stand delivers a lyrical, thoughtful reflection of what it is to be an athlete—inside as well as outside the game—and how one man’s love of basketball evolved into a love of poetry, "good turns of speech," writing, and teaching.

A powerful and harrowing memoir of a young nurse’s experience in the Vietnam War

Lynda Van Devanter was the girl next door, the cheerleader who went to Catholic schools, enjoyed sports, and got along well with her four sisters and parents. After high school she attended nursing school and then did something that would shatter her secure world for the rest of her life: in 1969, she joined the army and was shipped to Vietnam. When she arrived in Vietnam her idealistic view of the war vanished quickly. She worked long and arduous hours in cramped, ill-equipped, understaffed operating rooms. She saw friends die. Witnessing a war close-up, operating on soldiers and civilians whose injuries were catastrophic, she found the very foundations of her thinking changing daily.

After one traumatic year, she came home, a Vietnam veteran. Coming home was nearly as devastating as the time she spent in Asia. Nothing was the same -- including Lynda herself. Viewed by many as a murderer instead of a healer, she felt isolated and angry. The anger turned to depression; like many other Vietnam veterans she suffered from delayed stress syndrome. Working in hospitals brought back chilling scenes of hopelessly wounded soldiers. A marriage ended in divorce. The war that was fought physically halfway around the world had become a personal, internal battle.

Home before Morning is the story of a woman whose courage, stamina, and personal history make this a compelling autobiography. It is also the saga of others who went to war to aid the wounded and came back wounded -- physically and emotionally -- themselves. And, it is the true story of one person's triumphs: her understanding of, and coming to terms with, her destiny.

Beatrice Ojakangas, the oldest of ten children, came by it naturally—the cooking but also the pluck and perseverance that she's served up with her renowned Scandinavian dishes over the years. In the wake of the Moose Lake fires and famine of 1918, Ojakangas tells us in this delightful memoir-cum-cookbook, her grandfather sent for a Finnish mail-order bride—and got one who’d trained as a chef.

Ojakangas’s stories, are, unsurprisingly, steeped in food lore: tales of cardamom and rye, baking salt cake at the age of five on a wood-burning stove, growing up on venison, making egg rolls for Chun King, and sending off a Pillsbury Bake Off–winning recipe without ever making it. And from here, how those early roots flourished through hard work and dedication to a successful (but never easy) career in food writing and a much wider world, from working for pizza roll king Jeno Paulucci to researching food traditions in Finland and appearing with Julia Child and Martha Stewart—all without ever leaving behind the lessons learned on the farm. As she says, “first you have to start with good ingredients and a good idea.”

Chock-full of recipes, anecdotes, and a kind humor that bring to vivid life the Finnish culture of northern Minnesota as well as the wider culinary world, Homemade delivers the savory and the sweet in equal measures and casts a warm light on a rich slice of the country’s cooking heritage.

As a native New Yorker who now calls Oregon home, Dionisia Morales knows how moving and resettling can spark an identity crisis relative to geography, family, and tradition. The essays collected in Homing Instincts explore how Morales’s conception of home plays out in her daily life, as she navigates the gap between where she is and the stories she tells herself about where she belongs.

Although Morales migrated from one North American coast to another, the questions she raises are relevant to migrations of any scale and place, whether across town or around the world. What does it mean to be a newcomer? Who has the right to claim a sense of place? What is gained or lost when we try to fit in? In a world where people are migrating more than ever for social, economic, personal, and political reasons, these questions take on a new urgency.

A wife and mother as well as a professional writer and editor, Morales writes with grace and resolve about a broad range of topics, including pregnancy, people watching, rock climbing, and bee colony collapse. She channels a spirit of adventure and adaptability while acknowledging how certain habits and mindsets are indelibly ingrained and are—like it or not—forever part of where, what, and who we call home.

As issues of migration and social integration play out in national and international politics, Morales provides a personal lens through which readers can appreciate that at one time or another we have all been in the process of arriving. Homing Instincts is a remarkable debut from a gifted prose stylist. It will be warmly received by lovers of the essay form and anyone who has sought, or still seeks, a place to call home.

Billy Joe Shaver was the real deal. Many agree with him that his songs are pure poetry. Shaver sang about a life that was full of hard times, wild living, and a forty-year-long passion for his late wife Brenda. His songs are raw, honest, and so true that people hear the story of their own lives in his music. No wonder, then, that his songs have also been recorded by artists such as Johnny Cash, Willie Nelson, Waylon Jennings, Kris Kristofferson, George Jones, Bob Dylan, Elvis Presley, Patty Loveless, John Anderson, Tom T. Hall, the Allman Brothers, the Oak Ridge Boys, and Tex Ritter.

In this compelling autobiography written with the assistance of Brad Reagan, Billy Joe Shaver looks back over a life that some might call a miracle of survival. His father abandoned the family before Billy Joe was born. Troubles in school and in the military turned him into a fighter, and a sawmill accident claimed two fingers and part of a third on his right hand. Yet his innate musical talent and the encouragement of an English teacher set him on the road to being a songwriter—and he never looked back. Shaver recounts his long struggle to break into the music business in Nashville and the success that came when Waylon Jennings recorded his songs on the 1973 album Honky Tonk Heroes, which became a landmark of outlaw country music. Shaver movingly describes his own up-and-down career as a singer-songwriter in Nashville and Texas; his bouts with alcohol and drugs; his pleasure in touring with his son, Eddy, and their band, Shaver, during the 1990s; and the pain of losing Eddy, Brenda, and Billy Joe's mother all within the year 1999–2000.

As full of life, heartbreak, and drama as any of Billy Joe Shaver’s songs, Honky Tonk Hero is the story of a man who not only walked on the wild side and lived to tell about it, but also got it all down in songs that many people consider to be some of the finest country music ever written.

Martin Luther King Jr. Malcolm X. Muhammad Ali. When you think of African American history, you think of its heroes—individuals endowed with courage and strength who are celebrated for their bold exploits and nobility of purpose. But what of black villains? Villains, just as much as heroes, have helped define the black experience.

Ranging from black slaveholders and frontier outlaws to serial killers and gangsta rappers, Hoodlums examines the pivotal role of black villains in American society and popular culture. Here, William L. Van Deburg offers the most extensive treatment to date of the black badman and the challenges that this figure has posed for race relations in America. He first explores the evolution of this problematic racial stereotype in the literature of the early Republic—documents in which the enslavement of African Americans was justified through exegetical claims. Van Deburg then probes antebellum slave laws, minstrel shows, and the works of proslavery polemicists to consider how whites conceptualized blacks as members of an inferior and dangerous race. Turning to key works by blacks themselves, from the writings of Frederick Douglass and W. E. B. Du Bois to classic blaxploitation films like Black Caesar and The Mack, Van Deburg demonstrates how African Americans have combated such negative stereotypes and reconceptualized the idea of the badman through stories of social bandits—controversial individuals vilified by whites for their proclivity toward evil, but revered in the black community as necessarily insurgent and revolutionary.

Ultimately, Van Deburg brings his story up-to-date with discussions of prison and hip-hop culture, urban rioting, gang warfare, and black-on-black crime. What results is a work of remarkable virtuosity—a nuanced history that calls for both whites and blacks to rethink received wisdom on the nature and prevalence of black villainy.

Clair Bee (1896-1983) was a hugely successful basketball coach at Rider College and Long Island University with a 412 and 87 record before his career was derailed in 1951 by a point-shaving scandal. In the trial that sent his star player, Sherman White, to prison, the judge excoriated Bee for creating a morally lax culture that contributed to his players' involvement with gambling. To a certain extent, Bee agreed with the judge's scolding, concluding that coaches, himself included, had become so driven to succeed on the court that they had lost sight of the educational role sports should play. His coaching career effectively over, Bee launched an effort to reform the ills he saw in college sports, and he did so in the pages of the Chip Hilton novels for young readers. He began the series in 1948, but it was the post-scandal books that he used as teaching tools. The books mirrored some of the events of the gambling scandal and were Bee's attempt to reform the problems plaguing college sports. He used his fiction to posit a better sports world that he hoped his young readers would construct and inhabit. The Chip Hilton books were extremely popular and have become a classic series, with over two million copies sold to date. Hoop Crazy is the fascinating story of Clair Bee and his star character Chip Hilton and the ways in which their lives, real and fictional, were intertwined.

Few figures on the left are as widely heralded as George Orwell. Yet his actual politics are poorly understood. Hope Lies in the Proles corrects that, offering a sympathetic yet critical account of Orwell’s often muddied political thinking and its continued relevance today. John Newsinger takes up various aspects of Orwell’s personal politics, exploring his attempts to change working-class consciousness, considering it alternately romantic, realistic, and patronizing—and at times all three at once. He examines Orwell’s antifascism, and how it fits in with his criticism of the Soviet Union; looks into his relationship with the Labour Party and feminism; and delves into Orwell’s shifting views on the United States. The result is the clearest understanding we’ve ever had of Orwell’s politics and their legacy.

In March of 1980, just a month before Sartre's death, Le Nouvel Observateur published a series of interviews, the last ever given, between the blind and debilitated philosopher and his young assistant, Benny Levy. Readers were scandalized and denounced the interviews as distorted, inauthentic, even fraudulent. They seemed to portray a Sartre who had abandoned his leftist convictions and rejected his most intimate friends, including Simone de Beauvoir. This man had cast aside his own fundamental beliefs in the primacy of individual consciousness, the inevitability of violence, and Marxism, embracing instead a messianic Judaism. No, Sartre's supporters argued, it was his interlocutor, the ex-radical, the orthodox, ultra-right-wing activist who had twisted the words and thought of an ailing Sartre to his own ends. Or had he?

Shortly before his death, Sartre confirmed the authenticity of the interviews and their puzzling content. Over the past fifteen years, it has become the task of Sartre scholars to unravel and understand them. Presented in this fresh, meticulous translation, the interviews are framed by two provocative essays from Benny Levy himself, accompanied by a comprehensive introduction from noted Sartre authority Ronald Aronson. Placing the interviews in proper biographical and philosophical perspective, Aronson demonstrates that the thought of both Sartre and Levy reveals multiple intentions that taken together nevertheless confirm and add to Sartre's overall philosophy. This absorbing volume at last contextualizes and elucidates the final thoughts of a brilliant and influential mind.

Jean-Paul Sartre (1906-1980) was offered, but declined, the Nobel Prize for literature in 1964. His many works of fiction, drama, and philosophy include the monumental study of Flaubert, The Family Idiot, and The Freud Scenario, both published in translation by the University of Chicago Press.