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Teaching in Black and White: The Sisters of St. Joseph in the American South discusses the work of the Sisters of St. Joseph of (the city of) St. Augustine, who came to Florida from France in 1866 to teach newly freed blacks after the Civil War, and remain to this day. It also tells the story of the Sisters of St. Joseph of Georgia, who sprang from the motherhouse in St. Augustine. A significant part of the book is a comparison of the Sisters of St. Josephs’ work against that of their major rivals, missionaries from the Protestant American Missionary Association. Using letters the Sisters wrote back to their motherhouse in France, the book provides rare glimpses into the personal and professional (pun intended) lives of these women religious in St. Augustine and other parts of Florida and Georgia, from the mid-nineteenth century through the era of anti-Catholicism in the early twentieth century South. It carries the story through 1922, the end of the pioneer years of the Sisters of St. Josephs’ work in Florida, and the end of Sisters of St. Joseph of Georgia’s existence as a distinct order. Through the lenses of Catholicism, Florida and Southern history, gender, and race, the book addresses the Protestant concept of domesticity and how it was reinforced in Catholic terms by women who seemingly defied the ideal. It also relates the Sisters’ contributions in shaping life in the South during Reconstruction as they established elite academies and free schools, created orphanages, ministered to all during severe yellow fever epidemics, and fought the specter of anti-Catholicism as it crept across the rural regions of the country. To date, little has been written about Catholics in the South, much less the women religious who served there. This book helps to fill that gap. Teaching in Black and White provides rare glimpses into the personal and professional lives of women religious in Florida and Georgia, from the mid-nineteenth to early twentieth-century.

Nation-building imperatives compel citizens to focus on what makes them similar and what binds them together, forgetting what makes them different. Democratic institution building, on the other hand, requires fostering opposition through conducting multiparty elections and encouraging debate. Leaders of democratic factions, like parties or interest groups, can consolidate their power by emphasizing difference. But when held in tension, these two impulses—toward remembering difference and forgetting it, between focusing on unity and encouraging division—are mutually constitutive of sustainable democracy.

Based on ethnographic and interview-based fieldwork conducted in 2012–13, The Black and White Rainbow: Reconciliation, Opposition, and Nation-Building in Democratic South Africa explores various themes of nation- and democracy-building, including the emotional and banal content of symbols of the post-apartheid state, the ways that gender and race condition nascent nationalism, the public performance of nationalism and other group-based identities, integration and sharing of space, language diversity, and the role of democratic functioning including party politics and modes of opposition. Each of these thematic chapters aims to explicate a feature of the multifaceted nature of identity-building, and link the South African case to broader literatures on both nationalism and democracy.

Winner, 2026 New England Historical Association James P. Hanlan Book Prize

Finalist, 2026 New England Society Book Award in Nonfiction

Reuben Ruby and Nathaniel Gordon II were born eleven months apart in 1798 and 1799 and spent much of their boyhoods roaming the noisy, bustling waterfront of Portland, Maine. They lived just blocks from one another, attended school together, and went to the same church with their families. But they were worlds apart, separated by family, culture, and race. Reuben Ruby was Black and Nathaniel Gordon was White. 

The Rubys became prominent antislavery activists, equal rights advocates, and operatives on the Underground Railroad. Their neighbors, the Gordons, became well-to-do ship masters, owners, and merchants: among them, the most notorious American slave ship captain of the century, Nathaniel Gordon III. As activists, sea captains, businessmen, prospectors, and politicians, members of these two families traveled to New York, California, Texas, Louisiana, Africa, Haiti, and Brazil, where their experiences were shaped by their racial identities. At home in the “Free North,” they faced social and political divisions nearly as sharp as those they encountered elsewhere. 

To understand the issues that divided nineteenth-century America—and, in many ways, still divide the nation—few have looked to the far North. In this compelling narrative history and intimate dual-family biography, Carol Gardner traces the Rubys and Gordons as they navigate the turbulent 1800s. As families and individuals, they demonstrate that the North was a critical proving ground for American notions of freedom and equality, as telling as any town, plantation, or battlefield in the South. Their experiences help reveal what it meant to live in a free state during the age of slavery, with all the promise, disappointment, irony, and hope that the notion entailed. 

In The Door of No Return, Michael E. Sawyer presents a bold work of speculative theory and philosophy that explores how Black people bring the future into being—and what existence in that future looks like. He considers what people of African descent face and the proper response to the situation. He introduces the idea of Being-As-Black as a response and questions the overarching ethos that will be the guide to a beneficial resolution.

Using critical theory and philosophy, Sawyer decouples Black identity and Black philosophy from White and Western frames by building on Toni Morrison’s ideas of Black Thought and encouraging an understanding of Black Self-Consciousness and Black Self-Identity on Black terms. The Door of No Return uses music, literature, visual art, and a variety of physical disciplines to imagine a world that differs from one that confounds the positive formation of Black Self-Consciousness under the coercive regime of white supremacy and Anti-Black racism.

Critical wisdom has it that we said a long goodbye to film noir in the 1950s. Robert Miklitsch begs to differ. Pursuing leads down the back streets and alleyways of cultural history, The Red and the Black proposes that the received rise-and-fall narrative about the genre radically undervalues the formal and thematic complexity of '50s noir and the dynamic segue it effected between the spectacular expressionism of '40s noir and early, modernist neo-noir.

Mixing scholarship with a fan's devotion to the crooked roads of critique, Miklitsch autopsies marquee films like D.O.A., Niagara, and Kiss Me Deadly plus a number of lesser-known classics. Throughout, he addresses the social and technological factors that dealt deuce after deuce to the genre--its celebrated style threatened by new media and technologies such as TV and 3-D, color and widescreen, its born losers replaced like zombies by All-American heroes, the nation rocked by the red menace and nightmares of nuclear annihilation. But against all odds, the author argues, inventive filmmakers continued to make formally daring and socially compelling pictures that remain surprisingly, startlingly alive.

Cutting-edge and entertaining, The Red and the Black reconsiders a lost period in the history of American movies.

Exploring the shared storytelling traditions that shaped Southern literature across racial lines.

Tracing Southern Storytelling in Black and White is a study of the historical use of oral storytelling by southern writers in written works. In each chapter, Sarah Gilbreath Ford pairs a white and an African American writer to highlight points of confluence in black and white southern oral traditions. She argues that the connections between white and African American southern writers run deeper than critics have yet explored, and she uses textual comparisons to examine the racial mixing of oral culture.

On porches, in kitchens, and on the pages of their work, black and white southerners exchanged not just stories but strategies for telling stories. As a boy, Joel Chandler Harris listened to the stories of African American slaves, and he devised a framework to turn the oral stories into written ones. Harris’s use of the frame structure influenced how Charles Chesnutt recorded oral stories, but it led Alice Walker to complain that her heritage had been stolen. Mark Twain listened to African American storytellers as a child. His use of oral dialects then impacts how Ralph Ellison and William Faulkner employ oral storytelling and how Toni Morrison later writes in response to Faulkner. The interactions are not linear, not a chain of influence, but a network of interactions, borrowings, and revisions.

Ford’s pairings lead to new readings that reveal how the writers employ similar strategies in their narratives, due in part to shared historical context. While Zora Neale Hurston and William Faulkner, for example, use oral storytelling in the 1930s to examine the fear of racial mixing, Ellen Douglas and Ernest Gaines use it in the 1970s to build bridges between the races. Exploring the cultural crossing that occurs in the use of oral storytelling, Ford offers a different view of this common strategy in southern narrative and a new perspective on how culture is shared.