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Mabel Finlayson Allred was a wife of Rulon Allred, leader of the Apostolic United Brethren, one of the major groups of fundamentalist Mormons who, since about the 1930s, have practiced plural marriage as separatists from the mainstream Latter-day Saints Church.
   Mabel’s autobiography maintains a mood of everyday normalcy strikingly in contrast with the stress of the ostracized life she was living. Her cheerful tone, expressive of her wish to live simply and gracefully in this world, is tempered by more somber descriptions of her personal struggle with clinical depression, of Rulon Allred’s inner struggles, of tensions with the law and with Allred’s fundamentalist colleagues, and ultimately by her forthright account of his assassination.
    Emerging from this unique narrative is the portrait of a woman buoyed by faith in both her religion and her husband, a window into the interior life of a woman seeking a resilient simplicity in an uncommonly challenging life.
    Plural Wife, conntextualized by Martha Bradley’s introduction, gives us insight into Mabel’s experience of history during an important period of the 20th century and advances our understanding of life ways of 20th century polygamy and the growth of the fundamentalist movement.

An image of Edgar Allan Poe (1809–1849) as a man of gloom and mystery continues to hold great popular appeal. Long recognized as one of the greats of American literature, he elicited either highly commendatory or absolutely hostile reactions from many who knew him, from others who claimed to comprehend him as person or as writer, and from still others who circulated as fact opinions intuited from his writings. Whether promoting him as angel or demon, “a man of great and original genius” or “extraordinarily wicked,” the viewpoints in this dramatic collection of primary materials provide vigorous testimony to support the contradictory images of the man and the writer that have prevailed for a century and a half.
     Noted Poe scholar Benjamin Fisher includes a comprehensive introduction and a detailed chronology of Poe’s sadly short life; each entry is introduced by a short headnote that places the selection in historical and cultural context, and explanatory notes provide information about people and places. From John Allan’s letter to Secretary of War John Eaton about Poe’s West Point life to John Frankenstein’s hostile verse casting him as an alcoholic, from Rufus Griswold’s first and second posthumous vilifications to James Russell Lowell’s more sensible outline of his life and career, from scornful to commendable reviews to scathing attacks on his morals to recognition of his comic achievements, Fisher has gathered a lively array of materials that read like the most far-fetched of gothic tales.
     Poe himself was creative when he supplied information to others about his life and literary career, and the speculative content of many of the portrayals presented in this collection read as if their authors had set out to be equally creative. The sixty-nine recollections gathered in Poe in His Own Time form a dramatic, real-time biographical narrative designed to provide a multitude of perspectives on the famous author, sometimes in conflict with each other and sometimes in agreement but always arresting.

Contributors. Jennifer Doyle, Jonathan Flatley, Marcie Frank, David E. James, Mandy Merck, Michael Moon, José Esteban Muñoz, Eve Kosofsky Sedgwick, Brian Selsky, Sasha Torres, Simon Watney, Thomas Waugh

Of all the images to arise from the Harlem Renaissance, the most thought-provoking were those of the mulatta. For some writers, artists, and filmmakers, these images provided an alternative to the stereotypes of black womanhood and a challenge to the color line. For others, they represented key aspects of modernity and race coding central to the New Negro Movement. Due to the mulatta’s frequent ability to pass for white, she represented a variety of contradictory meanings that often transcended racial, class, and gender boundaries.

In this engaging narrative, Cherene Sherrard-Johnson uses the writings of Nella Larsen and Jessie Fauset as well as the work of artists like Archibald Motley and William H. Johnson to illuminate the centrality of the mulatta by examining a variety of competing arguments about race in the Harlem Renaissance and beyond.

These letters among two women and their husband offer a rare look into the personal dynamics of an LDS polygamous relationship. Abraham “Owen” Woodruff was a young Mormon apostle, the son of President Wilford Woodruff, remembered for the Woodruff Manifesto, which called for the divinely inspired termination of plural marriage. It eased a systematic federal judicial assault on Mormons and made Utah statehood possible. It did not end polygamy in the church. Some leaders continued to encourage and perform such marriages. Owen Woodruff himself contracted a secretive, second marriage to Avery Clark. Pressure on the LDS church revived with hearings regarding Reed Smoot’s seat in the U. S. Senate. After church president Joseph F. Smith issued the so-called Second Manifesto in 1904, polygamy and its more prominent advocates were mostly expunged from mainstream Mormonism. Owen Woodruff was not excommunicated, as a couple of his apostolic colleagues were. He and his first wife, Helen May Winters, had died suddenly that same year after contracting smallpox in Mexico. Owen Woodruff had often been “on the underground,” moving frequently, traveling under secret identities, and using code names in his letters to his wives, while still carrying out his administrative duties, which, in particular, involved supervision of the nascent Mormon colonies in the Big Horn Basin of Wyoming.

Central Asia has long stood at the crossroads of history. It was the staging ground for the armies of the Mongol Empire, for the nineteenth-century struggle between the Russian and British empires, and for the NATO campaign in Afghanistan. Today, multinationals and nations compete for the oil and gas reserves of the Caspian Sea and for control of the pipelines. Yet “Stanland” is still, to many, a terra incognita, a geographical blank.

Beginning in the mid-1990s, academic and journalist David Mould’s career took him to the region on Fulbright Fellowships and contracts as a media trainer and consultant for UNESCO and USAID, among others. In Postcards from Stanland, he takes readers along with him on his encounters with the people, landscapes, and customs of the diverse countries—Kazakhstan, Kyrgyzstan, Tajikistan, and Uzbekistan—he came to love. He talks with teachers, students, politicians, environmental activists, bloggers, cab drivers, merchants, Peace Corps volunteers, and more.

Until now, few books for a nonspecialist readership have been written on the region, and while Mould brings his own considerable expertise to bear on his account—for example, he is one of the few scholars to have conducted research on post-Soviet media in the region—the book is above all a tapestry of place and a valuable contribution to our understanding of the post-Soviet world.

A pajama party at the Minneapolis–St. Paul International Airport inadvertently helped launch R.T. Rybak’s political career (imagine a rumba line one hundred protesters long chanting, “We deserve to sleep, hey!”), but his earliest lessons in leadership occurred during his childhood. Growing up in a middle-class neighborhood, attending private school with students who had much more than he did, spending evenings at his family’s store in an area where people lived with much less, he witnessed firsthand the opportunity and injustice of the city he called home.

In a memoir that is at once a political coming-of-age story and a behind-the-scenes look at the running of a great city, the three-term mayor takes readers into the highs and lows and the daily drama of a life inextricably linked with Minneapolis over the past fifty years. With refreshing candor and insight, Rybak describes his path through journalism, marketing, and community activism that led to his unlikely (to him, at least) primary election—on September 11, 2001. His personal account of the challenges and crises confronting the city over twelve years, including the tragic collapse of the I-35W bridge, the rising scourge of youth violence, and the bruising fight over a ban on gay marriage (with Rybak himself conducting the first such ceremony at City Hall on August 1, 2013), is also an illuminating, often funny depiction of learning the workings of the job, frequently on the fly, while trying to keep up with his most important constituency, his family.

As bracing as the “fresh air” campaign that swept him into office, Rybak’s memoir is that rare document from a politician: one more concerned with the people he served and the issues of his time than with burnishing his own credentials. As such, it reflects what leadership truly looks like.

Power in the Blood: A Family Narrative traces Linda Tate’s journey to rediscover the Cherokee-Appalachian branch of her family and provides an unflinching examination of the poverty, discrimination, and family violence that marked their lives. In her search for the truth of her own past, Tate scoured archives, libraries, and courthouses throughout Kentucky, Tennessee, Alabama, Illinois, and Missouri, visited numerous cemeteries, and combed through census records, marriage records, court cases, local histories, old maps, and photographs. As she began to locate distant relatives — fifth, sixth, seventh cousins, all descended from her great-greatgrandmother Louisiana — they gathered in kitchens and living rooms, held family reunions, and swapped stories. A past that had long been buried slowly came to light as family members shared the pieces of the family’s tale that had been passed along to them.

Power in the Blood is a dramatic family history that reads like a novel, as Tate’s compelling narrative reveals one mystery after another. Innovative and groundbreaking in its approach to research and storytelling, Power in the Blood shows that exploring a family story can enhance understanding of history, life, and culture and that honest examination of the past can lead to healing and liberation in the present.

“It’s almost like ballet. Preflight. Starting. Warm-up. The voices from the control tower—the instructions. Taxiing. The rush down the runway. Airborne. There are names for every move. The run-up. Position and hold. Every move needs to be learned, practiced, made so familiar you feel the patterns in every other thing you do. It’s technical, yes. But there is a grace to getting metal and bone into the sky.”

Prairie Sky is a celebration of curiosity and a book for explorers. In this collection of contemplative essays, Scott Olsen invites readers to view the world from a pilot’s seat, demonstrating how, with just a little bit of altitude, the world changes, new relationships become visible, and new questions seem to rise up from the ground.

Whether searching for the still-evident shores of ancient lakes, the dustbowl-era shelterbelt supposed to run the length of the country, or the even more elusive understandings of physics and theology, Olsen shares the unique perspective and insight allowed to pilots.

Prairie Sky explores the reality as well as the metaphor of flight: notions of ceaseless time and boundless space, personal interior and exterior vision, social history, meteorology, and geology. Olsen takes readers along as he chases a new way of looking at the physical world and wonders aloud about how the whole planet moves in interconnected ways not visible from the ground. While the northern prairie may call to mind images of golden harvests and summer twilight such images do not define the region. The land bears marks left by gut-shaking thunderstorms, hard-frozen rivers, sweeping floods, and hurricane-size storms. Olsen takes to the midwestern sky to confront the ordinary world and reveals the magic--the wondrous and unique sights visible from the pilot’s seat of a Cessna.

Like Antoine de Saint-Exupery’s classic work Wind, Sand and Stars, Olsen’s Prairie Sky reveals the heart of what it means to fly. In the grand romantic tradition of the travel essay, it opens the dramatic paradoxes of self and collective, linear and circular, the heart and the border.

In this thorough and detailed study, Richard Douglass-Chin examines collectively for the first time the autobiographies of nineteenth-century African American women evangelists, along with their eighteenth-century forerunner "Belinda." By studying how black women evangelists employed dialogue created by socioeconomic conditions, the author shows how their writings form the groundwork for a contemporary womanist literature rooted in spirituality. Arguing that the writings have their own unique figurations and forms that develop and alter over time, Douglass-Chin claims that the changing black female spiritual narrative traces an important line in the ongoing traditions of black women's writing, a line that has only now begun to be reclaimed and validated. Through references to the writings of black male autobiographers Frederick Douglass, Richard Allen, Daniel Payne, and John Jea as well as the works of white female autobiographers Harriet Livermore and Phoebe Palmer, Douglass-Chin is able to make valuable comparisons.

Preacher Woman Sings the Blues begins with the study of black evangelists Belinda, Jarena Lee, and Zilpha Elaw, continuing with Rebecca Cox Jackson, Sojourner Truth, Julia Foote, Amanda Smith, Elizabeth, and Virginia Broughton. The author's discussion of Zora Neale Hurston focuses on how Hurston operates as a connection between early black women evangelist writers and black women writing in America today. He ends with the works of Alice Walker, Toni Morrison, and Toni Cade Bambara.

By examining the early traditions prefiguring contemporary African American women's texts and the impact that race and gender have on them, Douglass-Chin shows how the nineteenth-century black women's works are still of utmost importance to many African American women writers today. Preacher Woman Sings the Blues makes a valuable contribution to literary criticism and theoretical analysis and will be welcomed by scholars and students alike.

The focus of Present Past is her life after the Shoah. Rejecting stereotypes of survivors as traumatized or broken, Schieber is stark yet exuberant, formidable yet nuanced. The woman who emerges in Schieber’s Present Past is a multifaceted, heterogeneous figure—poet, artist, and survivor. In it, she plays the passionate observer who dispassionately curates the kaleidoscopic memories of her tumultuous personal and professional life in Belgrade, Prague, Tel Aviv, New York, and Chicago.

Organized into thirteen chapters, each a blend of images, poems, and narrative, this moving new work offers myriad points of entry to readers of these genres, those fascinated in the relationship between the Holocaust and art, as well as readers interested in memory and survivorship.

In the early morning hours of October 1, 1965, a group calling itself the September 30th Movement kidnapped and executed six generals of the Indonesian army, including its highest commander. The group claimed that it was attempting to preempt a coup, but it was quickly defeated as the senior surviving general, Haji Mohammad Suharto, drove the movement’s partisans out of Jakarta. Riding the crest of mass violence, Suharto blamed the Communist Party of Indonesia for masterminding the movement and used the emergency as a pretext for gradually eroding President Sukarno’s powers and installing himself as a ruler. Imprisoning and killing hundreds of thousands of alleged communists over the next year, Suharto remade the events of October 1, 1965 into the central event of modern Indonesian history and the cornerstone of his thirty-two-year dictatorship.

Despite its importance as a trigger for one of the twentieth century’s worst cases of mass violence, the September 30th Movement has remained shrouded in uncertainty. Who actually masterminded it? What did they hope to achieve? Why did they fail so miserably? And what was the movement’s connection to international Cold War politics? In Pretext for Mass Murder, John Roosa draws on a wealth of new primary source material to suggest a solution to the mystery behind the movement and the enabling myth of Suharto’s repressive regime. His book is a remarkable feat of historical investigation.

Finalist, Social Sciences Book Award, the International Convention of Asian Scholars