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Many writers, from Aristophanes to Joseph Heller, have written about politics. But at certain periods in history, often at times of conflict and turmoil, writers have consciously used their literary talents to support or oppose a specific cause. The 1930s, a decade of widespread social and political breakdown, was such a period.

Today the Struggle examines the political involvement of those leading British writers who dedicated their talents to the defense of Nationalists or Loyalists during the Spanish Civil War and who saw that war as symbolic of their own Right-Left dialogue.

Conservatives like William Butler Yeats and T. S. Eliot and Roman Catholics like Evelyn Waugh were passionately anti-Communist. They viewed fascism as a bulwark against communism but were unwilling to support the Franco cause actively. Other pro-Nationalists were not so hesitant: Roy Campbell and Wyndham Lewis were ardent participants in the fight against the British left wing.

Pro-Loyalists, united only in their antifascism, ranged from conservative to anarchist in political commitment. Their literary contributions included fine poems by W. H. Auden and Stephen Spender, experimental drama by Auden and Christopher Isherwood, and impassioned prose by Rex Warner, George Orwell, and Aldous Huxley.

Katharine Hoskins’s principal interest in Today the Struggle is to discover how and why certain writers supported specific political actions, to ascertain the effectiveness of their efforts, and to evaluate the influence of these efforts on their work.

Reexamining the Creek War, the War of 1812, and the Making of the American South.

Tohopeka contains a variety of perspectives and uses a wide array of evidence and approaches, from scrutiny of cultural and religious practices to literary and linguistic analysis, to illuminate this troubled period. Almost two hundred years ago, the territory that would become Alabama was both ancient homeland and new frontier where a complex network of allegiances and agendas was playing out. The fabric of that network stretched and frayed as the Creek Civil War of 1813-14 pitted a faction of the Creek nation known as Red Sticks against those Creeks who supported the Creek National Council.  The war began in July 1813, when Red Stick rebels were attacked near Burnt Corn Creek by Mississippi militia and settlers from the Tensaw area in a vain attempt to keep the Red Sticks’ ammunition from reaching the main body of disaffected warriors. A retaliatory strike against a fortified settlement owned by Samuel Mims, now called Fort Mims, was a Red Stick victory.  The brutality of the assault, in which 250 people were killed, outraged the American public and “Remember Fort Mims” became a national rallying cry.

During the American-British War of 1812, Americans quickly joined the war against the Red Sticks, turning the civil war into a military campaign designed to destroy Creek power. The battles of the Red Sticks have become part of Alabama and American legend and include the famous Canoe Fight, the Battle of Holy Ground, and most significantly, the Battle of Tohopeka (also known as Horseshoe Bend)—the final great battle of the war. There, an American army crushed Creek resistance and made a national hero of Andrew Jackson.

New attention to material culture and documentary and archaeological records fills in details, adds new information, and helps disabuse the reader of outdated interpretations.

Contributors
Susan M. Abram / Kathryn E. Holland Braund/Robert P. Collins / Gregory Evans Dowd / John E. Grenier / David S. Heidler / Jeanne T. Heidler / Ted Isham / Ove Jensen / Jay Lamar / Tom Kanon / Marianne Mills / James W. Parker / Craig T. Sheldon Jr. / Robert G. Thrower / Gregory A. Waselkov

Tom Blackwell (1938–2020) is primarily known for his work in Photorealism, a stylistic movement noted for its ardent embrace of photographic source material. In 1969, he began a series of brashly beautiful motorcycle paintings that established him as one of the founders and foremost artists of the movement. The myriad painterly possibilities of urban store windows became another abiding interest. In his store-window paintings, Blackwell captures the counterpoint between the idealized reality within the store display and the bustling urban life reflected in the glass. As author Linda Chase remarks, "The magic of these paintings resides in the artist's ability to transform the arbitrary photographic information into dynamic and complex artistic compositions, revealing and clarifying the image while preserving its mystery."

In conjunction with his Photorealist paintings, Blackwell has produced a related body of work that is allegorical in its perpective. Combining photo-derived images, he addresses themes such as the passage of time, the fragility of nature, and the continuity that weaves through human history. The paintings, rich in symbolism and interpretive possibilities, fascinate and impress viewers with the breadth of Blackwell's abilities. "As a painter, I have been interested in dealing with the formal issues involved in juxtaposed and overlapping images," he explains. "In my Photorealism work, my goal is to reveal something about the actual world and to explore our photo-mediated perceptions of it."

Blackwell, born in Chicago in 1938, has deftly captured the vibrancy and visual excitement of urban street life for the past four decades and has had solo exhibitions across the United States and abroad. Tom Blackwell: The Complete Paintings, 1970–2014 is a comprehensive study of the artist's work as well as his artistic development and process, and includes a compilation of his early paintings through to his most recent works.

Of Tom Slaughter, Henry Geldzahler, the first curator of twentieth-century art at The Metropolitan Museum of Art, commented: "The quality of freshness, the familiar world re-seen, from the water towers of New York City to the rural pleasures of boating, is the most immediately arresting aspect of Tom Slaughter's art... Bold bright colors swiftly laid down echo with resonances: Léger and Stuart Davis, Raoul Dufy and Roy Lichtenstein." His work, with its seemingly effortless whimsy rendered with a strong sense of line, color, and rhythm, has also been compared to Matisse.

Slaughter's Pop-inflected drawings, prints, paintings, and illustrations convey his love of life as he relentlessly explored the complexities of the urban scene or the simple pleasures of boating. The Artist Book Foundation is pleased to publish Tom Slaughter, an extensive monograph of the artist's enormous body of work that celebrates his enduring optimism, personal and artistic honesty, and charming brashness in a landscape of pure joy.

Glenn Lowry, director of the Museum of Modern Art, reveals Slaughter as a treasured friend whose artistry was fueled by endless curiosity about life's simple pleasures, a man who made his innumerable friends and acquaintances part of his personal community. Slaughter's lifelong friend, actor and writer David Marshall Grant, remembers the artist's delight when, in a high school art class, he was introduced to the mysteries of negative space and the enigmatic power it brings to an artwork. Artist, art critic, and independent curator Andy Fabo describes his friend's vibrant art as all about pleasure. Even in the most turbulent of times, he took a celebratory approach to his art, offering his viewers a sensual and visual delight. For Jon Robin Baitz, playwright and screenwriter, the "sweetness" of Slaughter's images was insistent, a compulsive scrutinizing of the visual world of small domesticities. Marthe Jocelyn, the artist's former wife and a children's book author and illustrator, reflects on the couple's acclaimed collaboration on a series of books for the very youngest readers. Jim Kempner, gallery owner, recalls Slaughter as a man of charm and enormous artistic talent who always managed to retain a childlike innocence. Artist George Negroponte remembers Slaughter as focusing on the life around him, especially his daughters, in a unique mixture of everyday images, abstracted yet conveying popular culture. And in an interview both informative and poignant, Slaughter's friends, artists Stephen Hannock, , Robert Harms, Ray Charles White, and Scott Kilgour pay tribute to a dear friend whose prolific career, though cut short, was remarkable for a visual language that makes his art accessible to everyone.

Of Tom Slaughter, Henry Geldzahler, the first curator of twentieth-century art at The Metropolitan Museum of Art, commented: "The quality of freshness, the familiar world re-seen, from the water towers of New York City to the rural pleasures of boating, is the most immediately arresting aspect of Tom Slaughter's art... Bold bright colors swiftly laid down echo with resonances: Léger and Stuart Davis, Raoul Dufy and Roy Lichtenstein." His work, with its seemingly effortless whimsy rendered with a strong sense of line, color, and rhythm, has also been compared to Matisse.

Slaughter's Pop-inflected drawings, prints, paintings, and illustrations convey his love of life as he relentlessly explored the complexities of the urban scene or the simple pleasures of boating. The Artist Book Foundation is pleased to publish Tom Slaughter, an extensive monograph of the artist's enormous body of work that celebrates his enduring optimism, personal and artistic honesty, and charming brashness in a landscape of pure joy.

Glenn Lowry, director of the Museum of Modern Art, reveals Slaughter as a treasured friend whose artistry was fueled by endless curiosity about life's simple pleasures, a man who made his innumerable friends and acquaintances part of his personal community. Slaughter's lifelong friend, actor and writer David Marshall Grant, remembers the artist's delight when, in a high school art class, he was introduced to the mysteries of negative space and the enigmatic power it brings to an artwork. Artist, art critic, and independent curator Andy Fabo describes his friend's vibrant art as all about pleasure. Even in the most turbulent of times, he took a celebratory approach to his art, offering his viewers a sensual and visual delight. For Jon Robin Baitz, playwright and screenwriter, the "sweetness" of Slaughter's images was insistent, a compulsive scrutinizing of the visual world of small domesticities. Marthe Jocelyn, the artist's former wife and a children's book author and illustrator, reflects on the couple's acclaimed collaboration on a series of books for the very youngest readers. Jim Kempner, gallery owner, recalls Slaughter as a man of charm and enormous artistic talent who always managed to retain a childlike innocence. Artist George Negroponte remembers Slaughter as focusing on the life around him, especially his daughters, in a unique mixture of everyday images, abstracted yet conveying popular culture. And in an interview both informative and poignant, Slaughter's friends, artists Stephen Hannock, , Robert Harms, Ray Charles White, and Scott Kilgour pay tribute to a dear friend whose prolific career, though cut short, was remarkable for a visual language that makes his art accessible to everyone.

WINNER OF THE LYMAN BOOK AWARD FOR MARITIME AND NAVAL SCIENCE, TECHNOLOGY, AND ENVIRONMENT

Argues that the US Navy’s commitment to high-steam propulsion for its World War II fleet was a tactical, technological, and bureaucratic failure

In Too Far on a Whim, Tyler A. Pitrof presents a high-spirited revision of the US Navy’s commitment to high-steam propulsion systems, the mainstay of its World War II fleets. Pitrof’s research persuasively demonstrates that in its war against the Imperial Japanese Navy, the US Navy succeeded despite its high-steam propulsion systems rather than because of them.

War with an aggressive Japan and a resurgent Germany loomed in the dark days of the late 1930s. Rear Admiral Harold G. Bowen Sr., head of the US Navy’s Bureau of Engineering, advanced a radical vision: a new fleet based on high-steam propulsion, a novel technology that promised high speeds with smaller engines and better fuel efficiency. High-steam engines had drawbacks—smaller operational ranges and maintenance issues. Nevertheless, trusting its engineers to resolve these issues, the US Navy put high-steam propulsion at the heart of its warship design from 1938 to 1945.

The official record of high-steam technology’s subsequent performance has relied heavily on Bowen’s own memoir, in which he painted high-steam innovation in heroic colors. Pitrof’s empirical review of primary sources such as ship’s maintenance records, however, illuminates the opposite—that the heroism lay in the ability of American seamen to improvise solutions to keep these difficult engines running.

Pitrof artfully explains engineering concepts in layman’s terms and provides an account that extends far beyond technology and into matters of naval hierarchies and bureaucracy, strategic theory, and ego. He offers a cautionary tale—as relevant to any endeavor as it is to military undertakings—about how failures arise when technical experts lack managers who understand their work. Admiral Bowen wielded excessive power because no one else in the US Navy knew enough to countermand him.

Compulsively readable, Too Far on a Whim is a landmark for those interested in naval history and technology but also for readers interested in the interplay between innovation, decision-making, and engineering.
 

Shipwreck stories from along Minnesota’s north shore of Lake Superior and Isle Royale

Against the backdrop of the extraordinary history of Great Lakes shipping, Too Much Sea for Their Decks chronicles shipwrecked schooners, wooden freighters, early steel-hulled steamers, whalebacks, and bulk carriers—some well-known, some unknown or forgotten—all lost in the frigid waters of Lake Superior.

Included are compelling accounts of vessels destined for infamy, such as that of the Stranger, a slender wooden schooner swallowed by the lake in 1875, the sailors’ bodies never recovered nor the wreckage ever found; an account of the whaleback Wilson, rammed by a large commercial freighter in broad daylight and in calm seas, sinking before many on board could escape; and the mysterious loss of the Kamloops, a package freighter that went down in a storm and whose sailors were found on the Isle Royale the following spring, having escaped the wreck only to die of exposure on the island. Then there is the ill-fated Steinbrenner, plagued by bad luck from the time of her construction, when she was nearly destroyed by fire, to her eventual (and tragic) sinking in 1953. These tales and more represent loss of life and property—and are haunting stories of brave and heroic crews.

Arranged chronologically and presented in three sections covering Minnesota's North Shore, Isle Royale, and the three biggest storms in Minnesota’s Great Lakes history (the 1905 Mataafa storm, the 1913 hurricane on the lakes, and the 1940 Armistice Day storm), each shipwreck documented within these pages provides a piece to the history of shipping on Lake Superior.

As director of the Cincinnati Observatory and, later, a civilian in the newly established forecast and storm warning division of the U.S. Army Signal Service, Cleveland Abbe was the first person to issue official, regularly scheduled weather forecasts, or “probabilities,” in the United States. Abbe began his work in forecasting in 1869, earning the nickname “Old Probabilities” and gaining recognition for the reliability of his reports. He would go on to become a leader of the US Weather Bureau—which we know today as the National Weather Service. In establishing a system for creating daily weather forecasts and more, this humble pioneer helped lay the foundation for modern meteorology in the United States.

Set against the backdrop of nineteenth and early twentieth-century international events and scientific advancements, this biography of Abbe explores both his personal life and his scientific career. It illuminates his time spent in Russia in the mid-1860s—as the Civil War was waged and a president was assassinated back home—in part through letters with his mother. Decades of diaries and correspondence from the Cleveland Abbe Papers at the Library of Congress, as well as first-person accounts, illuminate this biography of a mild-mannered family man whose thirst for knowledge drove him to become a giant in an emerging scientific field.

“If Hasidism begins in the life-enhancing spirituality of the Baal Shem Tov, it concludes in the tortuous, elitist and utterly fascinating career of Nahman of Bratslav (1722–1810) whose biography and teaching Arthur Green has set forth in his comprehensive, moving, and subtle study, Tormented Master.

            “Arthur Green has managed to lead us through the thickets of the Bratslaver discourse with a grace and facility thus far unequaled in the English language literature on Hasidism. Tormented Master is a model of clarity and percipience, balancing awed respect and honor for its subject with a ruthless pursuit of documented truth. . . . Tormented Master is sufficiently open to the agonies of religion in general and the issues of modern religion in particular to make Nahman a thinker utterly relevant to our time.

            “Nahman of Bratslav is unique in the history of Judaism, Green emphasizes, for having made the individual’s quest for intimacy with God the center of the religious way. He was a Kierkegaard before his time, believing in the utter abandon of the life of faith and the risk of paradoxicality. . . . He was, more than all others, the predecessor of Kafka, whose tales, like Nahman’s, have no explicit key and rankle, flush and irritate the spirit, compelling us—even in our failure to understand—to acknowledge their potency and challenge.”

—New York Times

Reassessing the role of torture in the context of police violence, mass incarceration, and racial capitalism
 

At the midpoint of a century of imperial expansion, marked on one end by the Philippine–American War of 1899–1902 and on the other by post–9/11 debates over waterboarding, the United States embraced a vision of “national security torture,” one contrived to cut ties with domestic torture and mass racial terror and to promote torture instead as a minimalist interrogation tool. Torture in the National Security Imagination argues that dispelling this vision requires a new set of questions about the everyday work that torture does for U.S. society.

Stephanie Athey describes the role of torture in the proliferation of a U.S. national security stance and imagination: as U.S. domestic tortures were refined in the Philippines at the turn of the twentieth century, then in mid-century counterinsurgency theory and the networks that brought it home in the form of law-and-order policing and mass incarceration.

Drawing on examples from news to military reports, legal writing, and activist media, Athey shows that torture must be seen as a colonial legacy with a corporate future, highlighting the centrality of torture to the American empire—including its role in colonial settlement, American Indian boarding schools, and police violence. She brings to the fore the spectators and commentators, the communal energy of violence, and the teams and target groups necessary to a mass undertaking (equipment suppliers, contractors, bureaucrats, university researchers, and profiteers) to demonstrate that, at base, torture is propelled by local social functions, conducted by networked professional collaborations, and publicly supported by a durable social imaginary.

Reassessing the role of torture in the context of police violence, mass incarceration, and racial capitalism
 

At the midpoint of a century of imperial expansion, marked on one end by the Philippine–American War of 1899–1902 and on the other by post–9/11 debates over waterboarding, the United States embraced a vision of “national security torture,” one contrived to cut ties with domestic torture and mass racial terror and to promote torture instead as a minimalist interrogation tool. Torture in the National Security Imagination argues that dispelling this vision requires a new set of questions about the everyday work that torture does for U.S. society.

Stephanie Athey describes the role of torture in the proliferation of a U.S. national security stance and imagination: as U.S. domestic tortures were refined in the Philippines at the turn of the twentieth century, then in mid-century counterinsurgency theory and the networks that brought it home in the form of law-and-order policing and mass incarceration.

Drawing on examples from news to military reports, legal writing, and activist media, Athey shows that torture must be seen as a colonial legacy with a corporate future, highlighting the centrality of torture to the American empire—including its role in colonial settlement, American Indian boarding schools, and police violence. She brings to the fore the spectators and commentators, the communal energy of violence, and the teams and target groups necessary to a mass undertaking (equipment suppliers, contractors, bureaucrats, university researchers, and profiteers) to demonstrate that, at base, torture is propelled by local social functions, conducted by networked professional collaborations, and publicly supported by a durable social imaginary.

Half a century after the Holocaust, on European soil, Bosnian Serbs orchestrated a system of concentration camps where they subjected their Bosniak Muslim and Bosnian Croat neighbors to torture, abuse, and killing. Foreign journalists exposed the horrors of the camps in the summer of 1992, sparking worldwide outrage. This exposure, however, did not stop the mass atrocities. Hikmet Karčić shows that the use of camps and detention facilities has been a ubiquitous practice in countless wars and genocides in order to achieve the wartime objectives of perpetrators. Although camps have been used for different strategic purposes, their essential functions are always the same: to inflict torture and lasting trauma on the victims.

Torture, Humiliate, Kill develops the author’s collective traumatization theory, which contends that the concentration camps set up by the Bosnian Serb authorities had the primary purpose of inflicting collective trauma on the non-Serb population of Bosnia and Herzegovina. This collective traumatization consisted of excessive use of torture, sexual abuse, humiliation, and killing. The physical and psychological suffering imposed by these methods were seen as a quick and efficient means to establish the Serb “living space.” Karčić argues that this trauma was deliberately intended to deter non-Serbs from ever returning to their pre-war homes. The book centers on multiple examples of experiences at concentration camps in four towns operated by Bosnian Serbs during the war: Prijedor, Bijeljina, Višegrad, and Bileća. Chosen according to their political and geographical position, Karčić demonstrates that these camps were used as tools for the ethno-religious genocidal campaign against non-Serbs. Torture, Humiliate, Kill is a thorough and definitive resource for understanding the function and operation of camps during the Bosnian genocide.

Preserving voices from the back roads—Ruby Pickens Tartt and the folklore of Alabama’s Black Belt.

“You recall the expression ‘toting the lead row’, don’t you? In chopping cotton or corn there is always a leader, one who can chop the fastest of them all. When he finishes his row, he goes back and helps the other choppers finish theirs. The one who totes the lead row takes the lead place in the next row.”—Ruby Pickens Tartt

Toting the Lead Row is a powerful biographical and cultural tribute to Ruby Pickens Tartt, a white woman from Alabama’s Black Belt who devoted her life to preserving the oral traditions of rural Black communities. Born in 1880 in Livingston, Alabama, Tartt witnessed nearly a century of social transformation and made it her mission to document the songs, stories, and life histories of her African American neighbors. She believed that the soul of Sumter County resided not in its institutions, but in its cabins, fields, and voices.

During the Great Depression, Tartt worked with the Federal Writers’ Project, collaborating with renowned folklorists such as Carl Carmer and John Lomax. Her home became a hub for cultural preservation, attracting scholars and artists who recognized the depth of her fieldwork. The book’s title refers to a Southern agricultural phrase—“toting the lead row”—symbolizing leadership and support, a role Tartt embodied in her efforts to elevate the voices of those often overlooked.

This volume is divided into two parts: the first offers a detailed biography of Tartt and her work with the WPA, while the second presents a curated selection of her collected writings, including 18 life histories and 12 slave narratives. Through these stories, Tartt preserved a vital piece of Southern history and gave voice to generations whose experiences might otherwise have been lost.

Toting the Lead Row is both a celebration of a remarkable woman and a vital contribution to the study of folklore, race, and Southern identity.

2026 Society for American Baseball Research Seymour Medal finalist 

Baseball’s relationship to American ideals has long been an object of study across disciplines. In Touching Home, Mary Craig contributes to this ongoing study by relating issues of class, race, and gender to America’s theoretical tradition of liberalism and republicanism established during the nation’s founding era. Specifically, Touching Home traces theories of individualism and civic virtue from the founding era through baseball’s place in American society at the end of the twentieth century.
 
The work also examines the mythologizing of baseball’s pastoralism, racial equality, and inculcation of manliness as a civic virtue. These myths became ingrained in baseball in significant ways, including, for example, the Supreme Court’s granting of an antitrust exemption to Major League Baseball; MLB’s promotion of Jackie Robinson’s career as proof of its leadership in and commitment to desegregation; and the short-lived All-American Girls Professional Baseball League (1943-1954) and subsequent relegation of women to softball.
 
Through the exploration of these and other societal issues, Craig’s work highlights baseball’s development from accessible hobby to multi-billion-dollar corporation, exploring the ways in which the sport has helped shape how individual Americans engage with politics. Indeed, in the pages of Touching Home readers will find a demythologizing of baseball that helps them better understand the results of their efforts to form community through engaging with teams at both the local and national levels. Scholars of American politics, particularly American political thought, will be intrigued to find baseball used as a case study of the effectiveness of the founders’ project of crafting a jointly liberal-republican framework capable of directing Americans toward responsible citizenship.
 
In all of these ways, Touching Home upholds the value of studying popular culture, presenting baseball as a unique and highly interesting lens through which to help us appreciate how individual Americans relate to politics and parties in their respective communities and nationally.