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The Sleeping Gypsy is an important collection of poems by an American writer who was only twenty-nine when awarded the coveted Prix de Rome in 1958. When George Garrett’s first collected verse, The Reverend Ghost and Other Poems, appeared in Scribner’s Poets of Today: IV, critics hailed the emergence of an authentic new talent of great promise. Babette Deutsch, writing in the New York Herald Tribune, said, “His poems are short, highly charged, and also, as he intended, clear. They move rapidly, without waste, exhibiting a lively skill and vigor in action.… His sensitive perceptivity makes his thoughtful insights more memorable.” Louise Bogan, writing in the New Yorker, said, “It is good to come upon [in Garrett’s work] an ordered brilliance and effects, long neglected, that link us to the ancient tradition of English ‘song.’”

Readers will find in The Sleeping Gypsy all of the qualities that distinguished Garrett’s earlier collection of verse—the pointed, incisive writing, the abhorrence of “pretty” poetic words, the harsh impact of language that is, at the same time, strangely musical. Many will feel that, in this later work, these qualities have been enhanced and that Garrett’s advancing maturity indicates strongly that his early promise will be richly fulfilled.

Exploring the landscapes, cultures, and psychological spaces where violence takes root in contemporary American fiction.

The Spaces of Violence is an insightful work of literary criticism in which James R. Giles investigates the complex relationship between violence and space in contemporary American fiction. Through close readings of novels by influential writers including Russell Banks, Cormac McCarthy, Lewis Nordan, Dorothy Allison, Don DeLillo, Denis Johnson, Sherman Alexie, Robert Stone, and Bret Easton Ellis, Giles demonstrates how violence is shaped by the physical, social, and psychological environments in which it occurs.

Drawing on spatial and cultural theory, Giles argues that these novels inhabit a distinctive "fourthspace," a realm existing at the margins of mainstream society where violence permeates everyday life and destabilizes traditional boundaries of identity, community, and morality. Whether set in rural landscapes, urban centers, suburban communities, football stadiums, or transient spaces such as highways and bus stations, the works examined reveal how environments become intertwined with systems of power, alienation, trauma, and destruction.

The book concludes by extending its analysis to representations of violence within family structures, highlighting the far-reaching effects of social and cultural fragmentation. Offering a sophisticated framework for understanding violence in literature, The Spaces of Violence is an important contribution to contemporary literary and cultural studies.

The founding of the United States after the American Revolution was so deliberate, so inspired, and so monumental in scope that the key actors considered this new government to be a work of art framed from natural rights. Recognizing the artificial nature of the state, these early politicians believed the culture of a people should inform the development of their governing rules and bodies. Eric Slauter explores these central ideas in this extensive and novel account of the origins and meanings of the Constitution of the United States. Slauter uncovers the hidden cultural histories upon which the document rests, highlights the voices of ordinary people, and considers how the artifice of the state was challenged in its effort to sustain inalienable natural rights alongside slavery and to achieve political secularization at a moment of growing religious expression.

A complement to classic studies of the Constitution’s economic, ideological, and political origins, The State as a Work of Art sheds new light on the origins of the Constitution and on ongoing debates over its interpretation.

Personal and simple, earthy and warm—recipes and stories from the Steger Wilderness Center in Minnesota’s north woods
 

The Steger Homestead Kitchen is an inspiring and down-to-earth collection of meals and memories gathered at the Homestead, the home of the Arctic explorer and environmental activist Will Steger, located in the north woods near Ely, Minnesota. Founded in 1988, the Steger Wilderness Center was established to model viable carbon-neutral solutions, teach ecological stewardship, and address climate change. In her role as the Homestead’s chef, Will’s niece Rita Mae creates delicious and hearty meals that become a cornerstone experience for visitors from all over the world, nourishing them as they learn and share their visions for a healthy and abundant future. 

Now, with this new book, home chefs can make Rita Mae’s simple, hearty meals to share around their own homestead tables. Interwoven with dozens of mouth-watering recipes—for generous breakfasts (Almond Berry Griddlecakes), warming lunches (Northwoods Mushroom Wild Rice Soup), elegant dinners (Spatchcock Chicken with Blueberry Maple Glaze), desserts (Very Carrot Cake), and snacks (Steger Wilderness Bars)—are Will Steger’s exhilarating stories of epic adventures exploring the Earth’s most remote and endangered regions.

The Steger Homestead Kitchen opens up the Wilderness Center’s hospitality, its heart and hearth, providing the practical advice and inspiration to cook up a good life in harmony with nature.

Alabama’s history and culture revealed through fourteen iconic foods, dishes, and beverages.

The Story of Alabama in Fourteen Foods explores well-known Alabama  food traditions to reveal salient histories of the state in a new way. In this book that is part history, part travelogue, and part cookbook, Emily Blejwas pays homage to fourteen emblematic foods, dishes, and beverages, one per chapter, as a lens for exploring the diverse cultures and traditions of the state.

Throughout Alabama’s history, food traditions have been fundamental  to its customs, cultures, regions, social and political movements, and events. Each featured food is deeply rooted in Alabama identity and has a story with both local and national resonance. Blejwas focuses on lesser-known food stories from around the state, illuminating the lives of a diverse populace: Poarch Creeks, Creoles of color, wild turkey hunters, civil rights activists, Alabama club women, frontier squatters, Mardi Gras revelers, sharecroppers, and Vietnamese American shrimpers, among others. A number of Alabama figures noted for their special contributions to the state’s foodways, such  as George Washington Carver and Georgia Gilmore, are profiled as well. Alabama’s rich food history also unfolds through accounts of community events and a food-based economy. Highlights include Sumter County barbecue clubs, Mobile’s banana docks, Appalachian Decoration Days, cane syrup making, peanut boils, and eggnog parties.

Drawing on historical research and interviews with home cooks, chefs, and community members cooking at local gatherings and for holidays, Blejwas details the myths, legends, and truths underlying Alabama’s beloved foodways. With nearly fifty color illustrations and fifteen recipes, The Story of Alabama in Fourteen Foods will allow all Alabamians to more fully understand their shared cultural heritage.

Modern critics and contemporary readers familiar with the field of Whitman criticism may find surprising an analysis of the structure of Leaves of Grass that concerns itself with Whitman as the poet-prophet and the identification of Whitman (or of his persona in the poem) with Christ. Early twentieth-century criticism has tended to exalt the early Whitman at the expense of the later one and to regard as poetically inferior the image of the national and democratically prophetic Whitman as expressed in the later editions.

Thomas Edward Crawley, in full knowledge of the contemporary currents of Whitman criticism, chooses to revert to this older view, through which he sheds new light on Whitman’s artistic achievement.

The basic premise of this study is that Walt Whitman’s Leaves of Grass is a unified work, lyrical, yet epic in quality, design, and spirit. Crawley’s purpose is to demonstrate the basis of this unity: its origin and operation and the nature of its realization. He demonstrates that an aesthetically maturing Whitman, in this work, was finally able to harmoniously bring together his individual and social subject matter.

Crawley defines the unifying spirit of Leaves of Grass in terms of Whitman’s concept of the poet-prophet and the poet-reader relationship. This concept is conveyed primarily through the development of the Christ- symbol, the dominant image in the poem. Through a careful analysis of Whitman’s handling of the simultaneous development of the poet-prophet and the nation, his masterful fusion of the personal element and the national element, an understanding of the complex structure of Leaves of Grass emerges.

 Crawley presents an analysis of Whitman’s final and carefully arrived at grouping of the lyrics in the 1881 edition according to a definite, distinguishable pattern—a pattern revealed in Whitman’s use of allusions, in his transitional poems and passages, and, most important, in his thematic handling of imagery. The cumulative effect of these devices is emphasized.

The organic development of Leaves of Grass, made possible by Whitman’s faith in and careful adherence to his concept of the organic theory of art, is substantiated. Crawley concludes his analysis with a detailed examination of the growth of Leaves of Grass as reflected in the various editions leading up to the 1881 volume, the last to be revised and published by Whitman.

Examining subjectivity and narrative perception in Hawthorne’s literary art.

The Style of Hawthorne’s Gaze is an unusual and insightful work that employs a combination of critical strategies drawn from art history, philosophy, psychoanalysis, and contemporary aesthetic and literary theory to explore Nathaniel Hawthorne’s narrative technique and his unique vision of the world. Dolis studies Hawthorne’s anti-technological and essentially Romantic view of the external world and examines the recurring phenomena of lighting, motion, aspectivity, fragmentation, and imagination as they relate to his descriptive techniques.

Dolis sets the world of Hawthorne’s work over and against the aesthetic and philosophical development of the world understood as a “view”, from its inception in the camera obscura and perspective in general, to its 19th-century articulation in photography. In light of this general technology of the image, and drawing upon a wide range of contemporary critical theories, Dolis begins his study of Hawthorne at the level of description, where the world of the work first arises in the reader’s consciousness. Dolis shows how the work of Heidegger, Merleau-Ponty, Freud, Lacan, and Derrida can provide fresh insights into the sophisticated style of Hawthorne’s perception of and system for representing reality.

A richly illustrated study of how technical drawing shaped culture in the early United States.

With The Technology of Drawing, Elizabeth Bacon Eager explores the importance of manual skill and graphic literacy in the emergence of American industry, offering readers a new lens through which to view the visual culture of the early United States. Focused on questions of materiality and process, the book traces the development of drawing as a technology and argues for it as an embodied way of thinking and knowing, revealing the significance of such knowledge in the construction of both scientific and social authority. Through close analysis of materials, including construction drawings, mechanical treatises, cartographic surveys, and patent drawings, many of which have never been published before, Eager presents a history of American art focused on materiality and process through the view of the mechanic rather than the fine artist. 

Reaching beyond the traditional boundaries of art historical study to engage objects rarely considered as art, The Technology of Drawing treats the technical image as a site of extraordinary creativity, in which eighteenth- and nineteenth-century Americans across the social spectrum negotiated critical concepts of identity, invention, and authorship with a remarkable degree of material intelligence and visual sophistication.

The Texanist, Texas Monthly’s perennially popular back-page column, has become the magazine’s most-read feature. With an inimitable style and an unassailable wholesomeness, columnist David Courtney has counseled many a well-intentioned Texan, native or wannabe, on how to properly conduct him- or herself. Until the July 2016 issue, an original illustration by the late award-winning artist Jack Unruh, depicting the Texanist in a situation described in the column, accompanied the Texanist’s sage wisdom. Unruh’s peerless illustrations displayed a sly wit that paired perfectly with Courtney’s humorous ripostes.

The Texanist gathers several dozen of Unruh’s most unforgettable illustrations, along with the fascinating, perplexing, and even downright weird questions that inspired them. Curing the curious, exorcizing bedevilment, and orienting the disoriented, the Texanist advises on such things as: Is it wrong to wear your football team’s jersey to church? When out at a dancehall, do you need to stick with the one that brung ya? Is it real Tex-Mex if it’s served with a side of black beans? Can one have too many Texas-themed tattoos? The Texanist addresses all of these important subjects and more. Whether you heed the good guidance, or just enjoy the whimsical illustrations, The Texanist will both entertain and educate you.

A groundbreaking collection that bridges linguistics and literature, offering powerful tools to uncover how language shapes meaning, identity, and power in literary texts.

The Text and Beyond: Essays in Literary Linguistics, edited by Cynthia Bernstein, presents a groundbreaking collection of essays that demonstrate how linguistic tools can enrich literary analysis. The volume brings together scholars who explore the intersections of language, literature, and culture—examining how syntax, discourse, gender, power, and regional dialects shape meaning in texts. From Tennessee Williams to Harry Crews, from Dickens to immigrant literature, the essays offer models for integrating linguistic theory with literary interpretation. This book is essential for scholars of stylistics, discourse analysis, and anyone interested in the evolving relationship between language and literature.

Tim Hunt’s The Textuality of Soulwork: Jack Kerouac’s Quest for Spontaneous Proseexamines Kerouac’s work from a new critical perspective with a focus on the author’s unique methods of creating and working with text. Additionally, The Textuality of Soulwork delineates Kerouac’s development of “Spontaneous Prose” to differentiate the preliminary experiment of On the Road from the more radical experiment of Visions of Cody, and to demonstrate Kerouac’s transition from working within the textual paradigm of modern print to the textual paradigm of secondary orality. From these perspectives, Tim Hunt crafts a new critical approach to Beat poetics and textual theory, marking an important contribution to the current revival of Kerouac and Beat studies underway at universities in the U.S. and abroad, as reflected by a growing number of conferences, courses, and a renewal in scholarship.