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A collection of reminiscences captures the private life of a great American writer.

Thomas Wolfe’s life may seem to be an open book. A life that, after all, was the source for his best-known works, including the novels Look Homeward, Angel and Of Time and the River, as well as his numerous short stories and dramas. Since his death in 1938, scholars and admirers of Wolfe have relied largely on these texts to understand the man himself.

Thomas Wolfe Remembered provides something new: a rich, multifaceted portrait painted by those who knew him (casually or intimately), loved him (or didn’t), and saw, heard, and experienced the literary (and literal) giant. This volume gathers in one place for the first time dozens of reminiscences by friends, family members, colleagues, and casual acquaintances, adding color and fine details to the self-portrait the author created in his novels.

Wolfe found plenty to challenge and frustrate him throughout his life, from his boyhood in Asheville, North Carolina, to his education at the University of North Carolina and Harvard University, through his time in New York and Europe, his travels through the American West, and his death in Baltimore. He experienced two distracted parents in a loveless marriage, the premature death of a beloved brother, a minor stutter, and the difficulties of controlling a mercurial temper. Yet Wolfe’s exuberance, perceptiveness, memory, and compulsion to record virtually all that he experienced made for an extravagance of material that sometimes angered the people whose lives he used as source material.

Editors Mark Canada and Nami Montgomery have collected dozens of remembrances, many unpublished or long forgotten, including pieces from Julia Wolfe, Margaret Roberts, Frederick Koch, Maxwell Perkins, Elizabeth Nowell, Edward Aswell, and Martha Dodd. Some are endearing, others are disturbing, and many are comical. All provide glimpses into the vibrant, haunted, boyish, paranoid, disheveled, courteous, captivating, infuriating, and altogether fascinating giant who was Thomas Wolfe.

This informative and provocative study focuses on the centrality of departure in the texts of five major American women novelists.

An important moment in many novels and poems by American women writers occurs when a central character looks out a window or walks out the door of a house. These acts of departure serve to convey such values as the rejection of constraining social patterns, the search for individual fulfillment, and the entry into the political.

Janis Stout examines such moments and related patterns of venture and travel in the fiction of five major American novelists of the 20th century: Mary Austin, Willa Cather, Anne Tyler, Toni Morrison, and Joan Didion. Stout views these five writers within a spectrum of narrative engagements with issues of home and departure—a spectrum anchored at one end by Sarah Orne Jewett and at the other by Marilynne Robinson, whose Housekeeping posits a vision of female transience.

Through the Window, Out the Door ranges over an expansive territory. Moving between texts as well as between texts and contexts, Stout shows how women writers have envisioned the walls of physical and social structures (including genres) as permeable boundaries, drawing on both a rhetoric of liberation and a rhetoric of domesticity to construct narrative arguments for women's right to move freely between the two. Stout concludes with a personal essay on the dilemmas of domesticity and the ambivalence of departure.

If Emmy Award-winner Peter Coyote’s debut collection represents the culmination of a half-century’s devotion to writing poetry, his second functions as a true encore: triumphant and raw. Thumb to Thumb… and Yet presents eighty-plus years of living — the countercultural adventures, the journey from Zen Buddhist discipleship to priesthood, marriage and divorce, a public career in entertainment, and the private work and rewards of parenthood — not as a retrospective but as a perpetual process of becoming. Coyote captures often-elusive wisdom and infuses these pages with the fullness of human experience: weariness that labor never ceases, that we cannot outgrow suffering, that we’re like “Manteaux ducks, immobilized so the fat / of everything can be forced down our gullets,” the glut of gavage neverending and “no option to stop swallowing”; frustration that ambition and ego persist despite the “pre-dawn Zendo chill” and over five decades spent “thumb-to-thumb sitting” in devoted practice; the satisfaction of pleasure, “smiling in the ruined sheets”; gratitude for life consummated and life ongoing and life that will continue long after us, for the opportunity of existence, for the work itself, for the “single nuthatch [that] bows / upside down on the grand oak” and its reminder during meditation that “everything presents itself as a partner.” The titular qualification of that “and yet” is an argument against and a celebration of conclusion; in a masterful encapsulation of the lyrical moment itself, these poems find Coyote returning to the stage only to perform another finale, every end recycled toward beginning. One song cedes to another, and yet the music flows on. 

If Emmy Award-winner Peter Coyote’s debut collection represents the culmination of a half-century’s devotion to writing poetry, his second functions as a true encore: triumphant and raw. Thumb to Thumb… and Yet presents eighty-plus years of living — the countercultural adventures, the journey from Zen Buddhist discipleship to priesthood, marriage and divorce, a public career in entertainment, and the private work and rewards of parenthood — not as a retrospective but as a perpetual process of becoming. Coyote captures often-elusive wisdom and infuses these pages with the fullness of human experience: weariness that labor never ceases, that we cannot outgrow suffering, that we’re like “Manteaux ducks, immobilized so the fat / of everything can be forced down our gullets,” the glut of gavage neverending and “no option to stop swallowing”; frustration that ambition and ego persist despite the “pre-dawn Zendo chill” and over five decades spent “thumb-to-thumb sitting” in devoted practice; the satisfaction of pleasure, “smiling in the ruined sheets”; gratitude for life consummated and life ongoing and life that will continue long after us, for the opportunity of existence, for the work itself, for the “single nuthatch [that] bows / upside down on the grand oak” and its reminder during meditation that “everything presents itself as a partner.” The titular qualification of that “and yet” is an argument against and a celebration of conclusion; in a masterful encapsulation of the lyrical moment itself, these poems find Coyote returning to the stage only to perform another finale, every end recycled toward beginning. One song cedes to another, and yet the music flows on. 

In this striking and nostalgic collection, Emily Rose Cole unearths the fragility and resilience of daughterhood through indelible imagery that evokes new senses of the body: swallowing keys, rain lashing eyelids, unzipping of flesh. Grieving self-portraits of historical and mythological women are woven with stirring recollections of struggling bodies and evocative spells to overcome them. Undulating with memories and magic, illness and death, these poems reveal how a single chance at life and loving can be both too much and not enough.
 

Focusing on literary and popular poets, as well as work by women, African Americans, and soldiers, this book considers how writers used poetry to articulate their relationships to family, community, and nation during the Civil War. Faith Barrett suggests that the nationalist “we” and the personal “I” are not opposed in this era; rather they are related positions on a continuous spectrum of potential stances. For example, while Julia Ward Howe became famous for her “Battle Hymn of the Republic,” in an earlier poem titled “The Lyric I” she struggles to negotiate her relationship to domestic, aesthetic, and political stances.

Barrett makes the case that Americans on both sides of the struggle believed that poetry had an important role to play in defining national identity. She considers how poets created a platform from which they could speak both to their own families and local communities and to the nations of the Confederacy, the Union, and the United States. She argues that the Civil War changed the way American poets addressed their audiences and that Civil War poetry changed the way Americans understood their relationship to the nation.

To Go Into the Words is the latest book of critical prose from renowned poet and scholar of Jewish literature Norman Finkelstein. Through a rigorous examination of poets such as William Bronk, Helen Adam, and Nathaniel Mackey, the book engages the contemporary poetic fascination with transcendence through the radical delight with language. By opening up a given poem, Finkelstein seeks the “gnosis” or insight of what it contains so that other readers can understand and appreciate the works even more.

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.

Peter Coyote’s first collection of poetry takes us on a whirlwind tour of an eclectic and exciting life as an actor and Zen Buddhist priest, meandering from love affairs to marriage to divorce to the Sixties to psychedelic spirituality and beyond.  Written over several decades, these poems read as a collage, each piece distinct and contributing to a cohesive lyric narrative.

Peter Coyote’s first collection of poetry takes us on a whirlwind tour of an eclectic and exciting life as an actor and Zen Buddhist priest, meandering from love affairs to marriage to divorce to the Sixties to psychedelic spirituality and beyond.  Written over several decades, these poems read as a collage, each piece distinct and contributing to a cohesive lyric narrative.

What does it really mean when people are viewed as bytes of data? And is there beauty or an imaginative potential to information culture and the databases cataloging it? As Too Numerous reveals, the raw material of bytes and data points can be reshaped and repurposed for ridiculous, melancholic, and even aesthetic purposes. 

Grappling with an information culture that is both intimidating and daunting, Kent Shaw considers the impersonality represented by the continuing accumulation of personal information and the felicities—and barriers—that result: “The us that was inside us was magnificent structures. And they weren't going to grow any larger.”