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Since the 2002 implementation of No Child Left Behind, the American public education system has been fundamentally changed. Excessive testing, standardized curriculums, destructive demands on children, corporate-­style evaluations, and top-­down mandates have become the norm. In response, record numbers of demoralized educators have quit, and millions of students have been left educationally impoverished. This troubling transformation has been exhaustively critiqued by scholars and commentators. Yet one crucial voice has been missing, until now.

In Testing Education, Kathy Greeley recounts the impact of education reform from a teacher’s point of view. Based on a teaching career spanning nearly forty years, Greeley details how schools went from learning communities infused with excitement, intellectual stimulation, and joy to sterile spaces of stress, intimidation, and fear. In this ultimately hopeful memoir, Greeley asks us to learn from the past to reimagine the future of public education.

Since 1973, Texas Monthly has spotlighted hundreds of Texans who, for better or worse, make this state like no place else. TEXAS MONTHLY On . . . Texas Women profiles thirteen women who are not only fascinating in their own right, but also representative of the legions of women who have contributed to the character and uniqueness of Texas. They range from First Ladies Laura Bush and Lady Bird Johnson to pop culture icons such as Candy Barr and Janis Joplin—and all of them exemplify the qualities that make Texas women distinctive. The women's profiles originally appeared as articles in the magazine, authored by some of Texas Monthly's notable writers—Cecilia Ballí, Gary Cartwright, Paul Burka, Mimi Swartz, Jan Jarboe Russell, Skip Hollandsworth, Robert Draper, William Broyles Jr., Jan Reid, Joe Nick Patoski, Pamela Colloff, and Helen Thorpe. The writers also introduce their pieces with headnotes that update the stories or, in some cases, tell the story behind the story.

TEXAS MONTHLY On . . . Texas Women is the first in a series of books in which the editors of Texas Monthly will offer the magazine's inimitable perspective on various aspects of Texas culture, including food, politics, travel, and music, among other topics.

Doug Sahm was a singer, songwriter, and guitarist of legendary range and reputation. The first American musician to capitalize on the 1960s British invasion, Sahm vaulted to international fame leading a faux-British band called the Sir Douglas Quintet, whose hits included "She's About a Mover," "The Rains Came," and "Mendocino." He made the cover of Rolling Stone magazine in 1968 and 1971 and performed with the Grateful Dead, Dr. John, Willie Nelson, Boz Scaggs, and Bob Dylan.

Texas Tornado is the first biography of this national music legend. Jan Reid traces the whole arc of Sahm's incredibly versatile musical career, as well as the manic energy that drove his sometimes turbulent personal life and loves. Reid follows Sahm from his youth in San Antonio as a prodigy steel guitar player through his breakout success with the Sir Douglas Quintet and his move to California, where, with an inventive take on blues, rock, country, and jazz, he became a star in San Francisco and invented the "cosmic cowboy" vogue. Reid also chronicles Sahm's later return to Texas and to chart success with the Grammy Award–winning Texas Tornados, a rowdy "conjunto rock and roll band" that he modeled on the Beatles and which included Sir Douglas alum Augie Meyers and Tejano icons Freddy Fender and Flaco Jimenez.

With his exceptional talent and a career that bridged five decades, Doug Sahm was a rock and roll innovator whose influence can only be matched among his fellow Texas musicians by Buddy Holly, Roy Orbison, Janis Joplin, and Stevie Ray Vaughan. Texas Tornado vividly captures the energy and intensity of this musician whose life burned out too soon, but whose music continues to rock.

This transcribed and edited wartime diary of Robert L. Brown—a trained journalist who served as public relations staff and assistant director at the Manzanar concentration camp—reveals the thoughts and perspective of the jailer, providing a window into the views of the local population around the presence and experience of a concentration camp for Japanese Americans in their community. In addition to the heavily footnoted diary, the book includes a prologue, introduction, and epilogue from Arthur A. Hansen, providing context for the journal as well as how Hansen came to transcribe the work with Brown’s blessing.

A departure from the typical recovered narratives from incarcerees, Brown’s diary is a historically significant primary source that provides insight into camp administration and local community relationships with Manzanar and a rich primary source for specialists in the field of Japanese American incarceration.

Reclaims the lost history of one of the twentieth century’s most innovative theaters

The Moscow Kamerny Theatre created stage worlds of movement, color, and light. Cofounded in 1914 by Alexander Tairov, a Jewish director from Ukraine, and Alisa Koonen, a Moscow-born actress from an immigrant family, the company celebrated the actor’s virtuosic inventiveness during an era when most theaters imitated daily life or prioritized the autocratic director’s vision. By the 1920s, it had become the most famous Soviet theater in the world, renowned for its actors’ acrobatic grace, its bold collaborations with avant-garde artists, and its revolutionary redefinition of what theater can be. But the accusations of Soviet disloyalty that were used to destroy the Kamerny during Stalin’s post–World War II antisemitic purge have rendered it little known outside Russia today and frequently misunderstood even there.

The Actor’s Revolution vividly reclaims this lost history by reconstructing the theater’s most illustrious premieres, analyzing them within the turbulent artistic and political context of the early Soviet era. Drawing on a decade of archival research, Dassia N. Posner restores Tairov’s legacy as one of history’s most significant directors and celebrates Koonen’s liberatory creative expressiveness as a vital alternative to Konstantin Stanislavsky’s better-known acting system. Building on rich archival sources, from unpublished memoirs to vibrant scenic and costume designs, this timely volume grapples with the entangled histories of art, politics, and erasure and celebrates the radical power of human creativity under—and in spite of—totalitarianism.

The personal history of journalist Henri Alleg is tied inextricably to the history of the French-Algerian Conflict. Best known for his book The Question, a first-hand account of his torture by French troops during the Algerian war for independence, Alleg is famous both for having brought the issue of French torture to the public eye and for his passionate work as a writer, a newspaperman, and a communist activist.

When Nashville became a Catholic diocese in 1837, it was mostly an aspirational exercise. The few Catholics scattered throughout the state were ministered to only occasionally by missionary priests who traveled by horseback from Kentucky. It is believed that Hugh Rogan, who arrived in Middle Tennessee in 1780 after working as a surveyor for the Continental Army, did not see a priest for fifty years.

That all changed when the Italian-born Father Aloysius “Luigi” Orengo arrived in Nashville in 1848. He traveled all over the state, sleeping in the woods, using his saddle for a pillow, and eating cheese and crackers. He’s credited with building churches in Franklin, Columbia, Pulaski, East Nashville, Tracy City, Gallatin, Humboldt, Brownsville, Grand Junction, Covington, Jackson, and McEwen.

But as influential as he was, Father Orengo’s story remained untold—until now.

Autobiographical literature especially reveals the processes by which writers convert their own historical experience into fictional form and suggests how literary forms function in life. This volume defines an original theory of autobiographical writing and provides intriguing analyses of major American works of literature.

The Art of Life examines the transformation of history into literature in Walden, "Song of Myself," Henry James's Prefaces, The Education of Henry Adams, Paterson, and the poetry of Frank O'Hara. These works are approached as events in themselves and are analyzed as conversions of form and history, fiction and fact, and even aesthetics and politics. Thus the work of literature is set in the total experience of living, and the writer is seen not only as an artist but also as a person in a historical, political, and cultural environment. As well as a creator of literature, the writer is viewed as a social, psychological, and biological being.

Chapters on the narcissistic economy of Walden, the mythicizing of history and personality in "Song of Myself," the self-conscious relation that makes the Prefaces of Henry James the autobiography of an artist. the comic perspective of The Education of Henry Adams, and the radical innovation of Paterson and O'Hara's poetry provide new readings of major American works. Each chapter contains some distinct critical insight which not only contributes to, but can be relished apart from, the book's overarching theoretical argument.

The Art of Life is a sophisticated theoretical discussion of autobiography with rich psychological, philosophical, and cultural ramifications.

The Artist William Keith: A Scots Giant Among the Redwoods reveals the rise of William Keith (1838? – 1911), a fatherless child from rural Aberdeenshire, Scotland who rose to an eminent position in the artistic and civic circles of Gold Rush-era San Francisco. Alexander Sutherland’s engaging study traces Keith’s life and artistic achievements, his lively personality and his drive to make a name for himself.

Brought to America in 1851 by his widowed mother, Keith’s initial career in wood engraving was superseded by an interest in painting. He later trained in Europe, being influenced by German Realism and the Barbizon painters in Paris, and studied portraiture in Munich. His major artistic shift came in 1872, when he befriended the conservationist, environmentalist and fellow Scot, John Muir (1838 – 1914). Their thirty-eight-year friendship in the mountains of Yosemite and other wilderness regions inspired Keith’s work as a landscape painter.

Keith’s later years were characterised by cosmopolitan and Suffragist connections in the bohemian art world of California. Although the San Francisco Earthquake of 1906 destroyed much of his life’s work, Keith responded by recommitting to his art, underscoring his remarkable achievements.

An interdisciplinary reevaluation of William Bartram’s Travels, illuminating the natural, cultural, and intellectual landscapes of the eighteenth‑century Southeast through diverse scholarly lenses.

William Bartram, author of Travels through North and South Carolina, Georgia, East and West Florida, the Cherokee Country, the Extensive Territories of the Muscogulees, or Creek Confederacy, and the Country of the Chactaws, was colonial America’s first native born naturalist and artist, and the first author in the modern genre of writers who portrayed nature through personal experience as well as scientific observation. His book, first published in 1791, was based on his journeys through southern Indian nations and Britain’s southern colonies in the years just prior to the American Revolution and provides descriptions of the natural and cultural environments of what would soon become the American South. Scholars and general readers alike have long appreciated Bartram’s lush, vivid prose, his clarity of observation and evident wonder at the landscapes he traversed, and his engagement with the native nations whose lands he traveled through.

The Attention of a Traveller: Essays on William Bartram’s “Travels” and Legacy offers an interdisciplinary assessment of Bartram’s influence and evolving legacy, opening new avenues of research concerning the flora, fauna, and people connected to Bartram and his writings. Featuring 13 essays divided into five sections, contributors to the volume weave together scholarly perspectives from geology, art history, literary criticism, geography, and philosophy, alongside the more traditional Bartram-affiliated disciplines of biology and history. The collection concludes with a comprehensive treatment of the book as a material historical artifact.
 

While basketball didn’t take up residence in the White House in January 2009, the game nonetheless played an outsized role in forming the man who did. In The Audacity of Hoop, celebrated sportswriter Alexander Wolff examines Barack Obama, the person and president, by the light of basketball. This game helped Obama explore his identity, keep a cool head, impress his future wife, and define himself as a candidate. 

Wolff chronicles Obama’s love of the game from age 10, on the campaign trail—where it eventually took on talismanic meaning—and throughout his two terms in office. More than 125 photographs illustrate Obama dribbling, shooting free throws, playing pickup games, cooling off with George Clooney, challenging his special assistant Reggie Love for a rebound, and taking basketball to political meetings. There is also an assessment of Obama’s influence on the NBA, including a dawning political consciousness in the league’s locker rooms. 

Sidebars reveal the evolution of the president’s playing style, “Baracketology”—a not-entirely-scientific art of filling out the commander in chief’s NCAA tournament bracket—and a timeline charts Obama’s personal and professional highlights.

Equal parts biographical sketch, political narrative, and cultural history, The Audacity of Hoop shows how the game became a touchstone in Obama’s exercise of the power of the presidency.