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“Sol Plaatje’s Mafeking Diary is a document of enduring importance and fascination. The product of a young black South African court interpreter, just turned 23 years old when he started writing, it opens an entirely new vista on the famous Siege of Mafeking. By shedding light on the part played by the African population of the town, Plaatje explodes the myth, maintained by belligerents, and long perpetuated by both historians and the popular imagination, this this was a white man’s affair. One of the great epics of British imperial history, and perhaps the best remembered episode of the Anglo-Boer war of 1899–1902, is presented from a wholly novel perspective.

“At the same time, the diary provides an intriguing insight into the character of a young man who was to play a key role in South African political and literary history during the first three decades of this century. It reveals much of the perceptions and motives that shaped his own attitudes and intellectual development and, indeed, those of an early generation of African leaders who sought to build a society which did not determine the place of its citizens by the colour of their skin. The diary therefore illuminates the origins of a struggle which continues to this day.”

— John L. Comaroff (ed.) in his preface

The First English Translation of the Intimate Writings of a Member of the Last Russian Imperial Family
In the twilight of the nineteenth century, a third daughter was born to Tsar Nicholas II and his wife Alexandra. Grand Duchess Maria Nikolaevna—known to her family and friends simply as “Mashka”—grew into an empathetic, down-to-earth girl, unaffected by her imperial status. Often overshadowed by her two older sisters, Olga and Tatiana, and later, her brother Alexei and younger sister Anastasia, Maria ultimately proved to have a uniquely strong and solid personality.
    In Maria Romanov: Third Daughter of the Last Tsar, Diaries and Letters, 1908–1918, by translator and researcher Helen Azar with George Hawkins, Mashka’s voice is heard again through her intimate writings, presented for the first time in English. The Grand Duchess was much more than a pretty princess wearing white dresses in hundreds of faded sepia photographs; Maria’s surviving diaries and letters offer a fascinating insight into the private life of a loving family—from festivals and faith, to Rasputin and the coming Revolution; it is clear why this middle child ultimately became a pillar of strength and hope for them all. Maria’s gentle character belied her incredible courage, which emerged in the darkest hours of her brief life. “The incarnation of modesty elevated by suffering,” as Maria was described during the last weeks of her life, she was able to maintain her kindness and optimism, even in the midst of violence and degradation.
    On a stuffy summer night in 1918, only a few weeks after her nineteenth birthday, Maria was murdered along with the rest of her family in a cellar of a house chosen for this “special purpose.” Two sets of charred remains, confirmed to be Maria’s and her brother Alexei’s, were not discovered until almost ninety years later, separately from those of the other victims of the massacre. As the authors relate, it is still unknown if these remains will ever be allowed to be laid to rest.

Mirages opens at the dawn of World War II, when Anaïs Nin fled Paris, where she lived for fifteen years with her husband, banker Hugh Guiler, and ends in 1947 when she meets the man who would be “the One,” the lover who would satisfy her insatiable hunger for connection. In the middle looms a period Nin describes as “hell,” during which she experiences a kind of erotic madness, a delirium that fuels her search for love. As a child suffering abandonment by her father, Anaïs wrote, “Close your eyes to the ugly things,” and, against a horrifying backdrop of war and death, Nin combats the world’s darkness with her own search for light.

Mirages collects, for the first time, the story that was cut from all of Nin’s other published diaries, particularly volumes 3 and 4 of The Diary of Anaïs Nin, which cover the same time period. It is the long-awaited successor to the previous unexpurgated diaries Henry and June, Incest, Fire, and Nearer the Moon. Mirages answers the questions Nin readers have been asking for decades: What led to the demise of Nin’s love affair with Henry Miller? Just how troubled was her marriage to Hugh Guiler? What is the story behind Nin’s “children,” the effeminate young men she seemed to collect at will? Mirages is a deeply personal story of heartbreak, despair, desperation, carnage, and deep mourning, but it is also one of courage, persistence, evolution, and redemption that reaches beyond the personal to the universal.

Patty Session's 1847 Mormon Trail diary has been widely quoted and excerpted, but her complete diaries chronicling the first decades of Mormon settlement at Salt Lake City have never before been published. They provide a detailed record of early Mormon community life from Illinois to Utah through the eyes of Mormondom's most famous midwife. They also recount her important role in women's social networks and her contributions to community health and Utah's economy, to pioneer education and horticulture. Patty Sessions assisted at the births of humdreds of early Mormons and first-generation Utahns, meticulously recording the events. Shed had an active role in the founding of the Relief Society and health organizations. She spoke in tongues and administered spiritually as well as medically to the ill. Her diaries are a rich resource for early Mormon and Utah history.

There are no historical events that have more iconic significance for the people of Utah than the trek of the vanguard company of Mormons west in 1847. Its meaning may vary, but overall, the march has a highly symbolic and seminal historical importance for virtually all Utahns. While the journey has been widely celebrated, memorialized, and even sanctified and various books have been written about it, there is more that can be said and understood about the migration's place in western history; about its context, including events preceding and following it; and about the real experiences of its participants. Particularly lacking in most published accounts are the stories of the rank and file members, the individuals who, in contrast to the well-known leadership, with Brigham Young at the top, might fittingly be called foot soldiers. The 1847 company had a military-like organization, which is captured by Ronald Barney's term brigade in the title. Norton Jacob was such a man of the ranks in 1847. He had no special status in the Mormon Church, and there was little to make him stand out in the historical record than that he left what is regarded by many trail historians as one of the best and most informative journals of the early Mormon emigration. While the heart of Jacob's record concerns the 1847 journey, there is much more to it. The diary published here begins in 1844, the year of church founder Joseph Smith's murder. It continues through the crisis events that followed: the Mormons' flight from Nauvoo, their trudging journey across Iowa to Winter Quarters, and the beginnings of mass migration to Utah. After the apex of 1847, the arc of the narrative moves through accounts of Jacob's return to Nauvoo late that year and of the much larger Mormon emigration in 1848. It reaches denouement in a short record of his first years in Salt Lake Valley.

Unconventional and provocative, My Life with Things is Elizabeth Chin's meditation on her relationship with consumer goods and a critical statement on the politics and method of anthropology. Chin centers the book on diary entries that focus on everyday items—kitchen cabinet knobs, shoes, a piano—and uses them to intimately examine the ways consumption resonates with personal and social meaning: from writing love haikus about her favorite nail polish and discussing the racial implications of her tooth cap, to revealing how she used shopping to cope with a miscarriage and contemplating how her young daughter came to think that she needed Lunesta. Throughout, Chin keeps Karl Marx and his family's relationship to their possessions in mind, drawing parallels between Marx's napkins, the production of late nineteenth-century table linens, and Chin's own vintage linen collection. Unflinchingly and refreshingly honest, Chin unlocks the complexities of her attachments to, reliance on, and complicated relationships with her things. In so doing, she prompts readers to reconsider their own consumption, as well as their assumptions about the possibilities for creative scholarship.