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Written with exquisite sensitivity and wit, this memoir by one of Mexico’s foremost men of letters describes coming of age during the violence of the Mexican Revolution and “living dangerously” as an openly homosexual man in a brutally machista society.

Salvador Novo (1904–1974) was a provocative and prolific cultural presence in Mexico City through much of the twentieth century. With his friend and fellow poet Xavier Villaurrutia, he cofounded Ulises and Contemporáneos, landmark avant-garde journals of the late 1920s and 1930s. At once “outsider” and “insider,” Novo held high posts at the Ministries of Culture and Public Education and wrote volumes about Mexican history, politics, literature, and culture. The author of numerous collections of poems, including XX poemas, Nuevo amor, Espejo, Dueño mío, and Poesía 1915–1955, Novo is also considered one of the finest, most original prose stylists of his generation.

Pillar of Salt is Novo’s incomparable memoir of growing up during and after the Mexican Revolution; shuttling north to escape the Zapatistas, only to see his uncle murdered at home by the troops of Pancho Villa; and his initiations into literature and love with colorful, poignant, complicated men of usually mutually exclusive social classes. Pillar of Salt portrays the codes, intrigues, and dynamics of what, decades later, would be called “a gay ghetto.” But in Novo’s Mexico City, there was no name for this parallel universe, as full of fear as it was canny and vibrant. Novo’s memoir plumbs the intricate subtleties of this world with startling frankness, sensitivity, and potential for hilarity. Also included in this volume are nineteen erotic sonnets, one of which was long thought to have been lost.

An unflinching account of how city planning was deployed to enforce white supremacy in Montgomery, Alabama—the birthplace of the Civil Rights Movement—and how Black activists fought back, block by neighborhood block.

At the heart of the Civil Rights Movement was a city meticulously designed to enforce inequality. In Planning White Supremacy: Civil Rights and City Planning in Montgomery, Alabama, 1920–1970, Rebecca Coleen Retzlaff traces how city officials used the tools of modern planning—zoning, infrastructure, housing codes, public investment, and highway construction—to suppress political power, economic opportunity, and spatial freedom for Black citizens.

As the birthplace of the Civil Rights Movement, Montgomery became a battleground where urban planning and direct-action protest collided, shaping the city’s culture in ways that still resonate today. Retzlaff’s analysis exposes the calculated use of municipal power to control land use, displace Black communities, keep schools and neighborhoods segregated, and preserve white political dominance. By placing urban planning at the center of Montgomery’s story, this groundbreaking work reframes the movement not only as a fight for voting rights and legal equality, but as a struggle for space, housing, mobility, education, and the right to live with dignity. Retzlaff also highlights the resilience and joy of the close-knit Black neighborhoods that nurtured the civil rights activists who changed history.

Retzlaff reveals how urban planning decisions systematically targeted Black neighborhoods, reinforcing racial inequality under the guise of modernization. With historical depth and critical insight, Planning White Supremacy situates Montgomery within the broader context of American urban history—offering a vital perspective on the intersection of race, space, and power. Essential for scholars of urban planning, history, and racial justice, this book also provides urgent insight into how these legacies continue to shape cities and Black socioeconomic opportunities today.

This lyric portrait of life—and the little donkey, Platero—in a remote Andalusian village is the masterpiece of Juan Ramón Jiménez, the Spanish poet awarded the 1956 Nobel Prize for Literature.

Reveals the role of amateur Black football and basketball in Virginia before integration as a form of resistance to white supremacy

In Playing for Power, Marvin T. Chiles offers a fascinating account of amateur sports in Jim Crow Virginia, revealing how, in addition to churches, workspaces, and civil rights organizations, sports were also a key arena for Black resistance to white supremacy. Drawing from a rich trove of primary sources, Chiles recounts the development of Black football and basketball culture at the high school and college levels in Virginia from the 1890s to the early 1970s. Looking beyond their role as leisure pastimes, Chiles demonstrates how amateur sports strengthened education, neutralized class divisions, shaped Black masculinity, mentored Black male leadership, cultivated race pride, and reflected Black desires for urban modernity.

Illuminating the ways Black athletes created a world that pushed for racial progress through objective, meritocratic achievement anchored by masculine leadership and institutional success, Playing for Power traces how amateur sports coalesced into a key cultural institution that fostered Black Virginians’ collective sense of community, achievement, and purpose during segregation, cornerstones of later advances in the Civil Rights Movement. Playing for Power also contributes to a larger understanding of sports history and how amateur sports became favorite American spectacles and markers of Southern identity. Chiles’s groundbreaking work will interest historians, scholars, and individuals interested in the intersection of sports and civil rights and the history of Black sports during the Jim Crow era.

A history of film distribution in the United States from the 1910s to the 1930s, concentrating on booking, circuiting, and packaging marketing practices.

Told not as a “golden age” narrative of films, stars, or individual studios but as an economic history of the industry’s film distribution practices, Playing the Percentages is the story of how Hollywood’s vertically integrated studio system came to be. Studying the history of distribution during the growth of Hollywood, Derek Long makes a case for the domination of the studio system as the result of struggles over distribution practices.

Through a combination of archival research, critical surveys of the film industry trade press, and economic analysis, Long uncovers a complex and ever-shifting system of wrangling between distributors and exhibitors. Challenging the overemphasis within scholarship on “block booking” as a monolithic distribution mode, and attending to distribution practices beyond simple circulation, Long highlights the crucial changes in film distribution brought about by live theater, the rise of features, and the transition to sound. Playing the Percentages is a comprehensive history of film distribution in the United States during the silent era that illustrates the importance of power struggles between distributors and exhibitors over booking, pricing, and playing time.

    Barbara Jefferson, a young American teaching in Tokyo in the 1960s, is set on a life-changing quest when her Japanese surrogate mother, Michi, dies, leaving her a tansu of homemade plum wines wrapped in rice paper. Within the papers Barbara discovers writings in Japanese calligraphy that comprise a startling personal narrative. With the help of her translator, Seiji Okada, Barbara begins to unravel the mysteries of Michi's life, a story that begins in the early twentieth century and continues through World War II and its aftermath.
     As Barbara and Seiji translate the plum wine papers they form an intimate bond, with Michi a ghostly third in what becomes an increasingly uneasy triangle. Barbara is deeply affected by the revelation that Michi and Seiji are hibakusha, survivors of the atomic bombing in Hiroshima, and even harder for her to understand are the devastating psychological effects wrought by war. Plum Wine examines human relationships, cultural differences, and the irreparable consequences of war in a story that is both original and timeless.

Fleeing the social and political turmoil spawned by the Mexican Revolution, massive numbers of Mexican immigrants entered the southwestern United States in the early decades of the twentieth century. But instead of finding refuge, many encountered harsh, anti-Mexican attitudes and violence from an Anglo population frightened by the influx of foreigners and angered by anti-American sentiments in Mexico.

This book examines the response of Mexican immigrants to Anglo American prejudice and violence early in the twentieth century. Drawing on archival sources from both sides of the border, Arturo Rosales traces the rise of "México Lindo" nationalism and the efforts of Mexican consuls to help poor Mexican immigrants defend themselves against abuses and flagrant civil rights violations by Anglo citizens, police, and the U.S. judicial system. This research illuminates a dark era in which civilian and police brutality, prejudice in the courtroom, and disproportionate arrest, conviction, and capital punishment rates too often characterized justice for Mexican Americans.

Poetic Justice is the first anthology of contemporary Moroccan poetry in English. The work is primarily composed of poets who began writing after Moroccan independence in 1956 and includes work written in Moroccan Arabic (darija), classical Arabic, French, and Tamazight.

Why Poetic Justice? Moroccan poetry (and especially zajal, oral poetry now written in Moroccan Arabic) is often published in newspapers and journals and is thus a vibrant form of social commentary; what’s more, there is a law, a justice, in the aesthetic act that speaks back to the law of the land. Poetic Justice because literature has the power to shape the cultural and moral imagination in profound and just ways.

Reading this oeuvre from independence until the new millennium and beyond, it is clear that what poet Driss Mesnaoui calls the “letters of time” have long been in the hands of Moroccan poets, as they write their ethics, their aesthetics, as well as their gendered and political lives into poetic being.