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2026 Excellence in Historic Preservation Award, Daughters of the American Revolution
2026 Summerlee Book Prize, Center for History and Culture of Southeast Texas and the Upper Gulf Coast
2026 Tejano Book Prize, Tejano Genealogy Society of Austin (TGSA)

A richly detailed history of daily life for colonial Spanish soldiers surviving on the eighteenth-century Texas Gulf Coast.

In 1775, Spanish King Carlos III ordered the capture of American pelicans for his wildlife park in Madrid. The command went to the only Spanish fort on the Texas coast—Presidio Nuestra Señora de Loreto de la Bahía in present-day Goliad. But the overworked soldiers stationed at the fort had little interest indulging a king an ocean away. Their days were consumed with guarding their community against powerful Indigenous peoples and managing the demands of frontier life. The royal order went ignored.

Wrangling Pelicans brings to life the world of Presidio La Bahía’s Hispano soldiers, whose duties ranged from heated warfare to high-stakes diplomacy, while their leisure pursuits included courtship, card playing, and cockfighting. It highlights the lives of presidio women and reveals the ways the Spanish legal system was used by and against the soldiers as they continually negotiated their roles within the empire and their community. Although they were agents of the Spanish crown, soldiers at times defied their king and even their captain as they found ways to assert their autonomy. Offering a fresh perspective on colonial Texas, Wrangling Pelicans recreates the complexities of life at the empire’s edge, where survival mattered more than royal decrees.

Take to the sea on this maritime archaeological exploration of nineteenth-century American whaling ships

American whaleships of the early nineteenth century were more than ocean-going vessels—they were complex workplaces, designed for long-term voyages, round-the-clock labor, and the large-scale extraction of marine resources. In Wrecked on the Reef, maritime archaeologist Jason T. Raupp presents a pioneering study of these ships as mobile production platforms, rooted in the logic of industrial capitalism operating far from land.

Drawing on shipwreck sites from the central Pacific region, Raupp offers a rare archaeological look at everyday life aboard nineteenth-century whaling vessels during the so-called “Golden Age” of whaling. He examines the tools used to hunt and process whales, the strict labor hierarchies onboard, and the physical evidence of diverse, often vulnerable crews who lived and worked under demanding conditions. By combining maritime and industrial archaeology, Raupp reveals how these ships functioned not just as transportation, but as full-scale factories at sea.

Chapters trace the rise of Pacific whaling, the importance of Hawaii as a supply and repair hub, the design and mechanics of whaleships, and the dangerous work crews performed in extreme isolation. Raupp shows how these ships were not only technological marvels of their time, but also part of a much larger system of labor, risk, and ocean-based resource extraction that fueled American expansion into the Pacific.

By exploring whaleships as floating work sites, Raupp offers readers a deeper understanding of maritime labor, capitalism, and imperialism in the nineteenth century. Wrecked on the Reef charts a new course in the study of labor and landscape at sea, providing significant contributions to maritime archaeology, industrial history, and environmental humanities.

Wrestling with God, scripture, and conscience in the nineteenth‑century South

First published in 1979, Wrestlin’ Jacob offers important insights into the intersection of black and white religious history in the South. Erskine Clarke provides two arenas—one urban and one rural—that show what happened when white ministers tried to bring black slaves into the fold of Christianity. Clarke illustrates how the good intentions—and vain illusions—of the white preachers, coupled with the degradation and cultural strength of the slaves, played a significant role in the development of black churches in the South.

From 1833 to 1847, Reverend Charles Colcock Jones served as an itinerant minister to slaves on the rice and cotton plantations in Liberty County, Georgia. The aim of Jones, and of the largely Puritan-descended slave owners, was to harvest not only good Christians but also obedient and hard-working slaves. At the same time, similar efforts were under way in cosmopolitan Charleston, South Carolina. Charleston permitted blacks to worship only under the supervision of whites, and partially as a result, whites and blacks worshiped together in ways that would be unheard of later in the segregated South.

Clarke examines not only the white ministers’ motivation in their missionary work but also the slaves’ reasons for becoming a part of the church. He addresses the important issue of the continuity of African traditions with the religious life of slaves and provides a significant introduction to the larger issues of slavery and religion in the South.

The volume covers a vast collection of subjects, including many important writers such as Richard Wright, Gwendolyn Brooks, and Lorraine Hansberry as well as cultural products such as black newspapers, music, and theater. The book includes individual entries by experts on each subject; a discography and filmography that highlight important writers, musicians, films, and cultural presentations; and an introduction that relates the Harlem Renaissance, the White Chicago Renaissance, the Black Chicago Renaissance, and the Black Arts Movement.

Contributors are Robert Butler, Robert H. Cataliotti, Maryemma Graham, James C. Hall, James L. Hill, Michael Hill, Lovalerie King, Lawrence Jackson, Angelene Jamison-Hall, Keith Leonard, Lisbeth Lipari, Bill V. Mullen, Patrick Naick, William R. Nash, Charlene Regester, Kimberly Ruffin, Elizabeth Schultz, Joyce Hope Scott, James Smethurst, Kimberly M. Stanley, Kathryn Waddell Takara, Steven C. Tracy, Zoe Trodd, Alan Wald, Jamal Eric Watson, Donyel Hobbs Williams, Stephen Caldwell Wright, and Richard Yarborough.

Throughout the Progressive Era, reform literature became a central feature of the American literary landscape. Works like Upton Sinclair’s The Jungle, Charlotte Perkins Gilman’s “The Yellow Wall-Paper,” and Jacob Riis’s How the Other Half Lives topped bestseller lists and jolted middle-class readers into action.

While realism and social reform have a long-established relationship, prominent writers of the period such as Henry James, Edith Wharton, James Weldon Johnson, Rebecca Harding Davis, and Kate Chopin resisted explicit political rhetoric in their own works and critiqued reform aesthetics, which too often rang hollow. Arielle Zibrak reveals that while these writers were often seen as indifferent to the political currents of their time, their work is a part of a little explored debate on the relationship between literature and politics at the heart of Progressive Era publishing. Examining the critique of reform aesthetics within the tradition of American realist literature of the late nineteenth and early twentieth centuries, Writing Against Reform promises to change the way we think about the fiction of this period and many of America’s leading writers.

Faced with an increasingly media-saturated, globalized culture, art historians have begun to ask themselves challenging and provocative questions about the nature of their discipline. Why did the history of art come into being? Is it now in danger of slipping into obsolescence? And, if so, should we care?

In Writing Art History, Margaret Iversen and Stephen Melville address these questions by exploring some assumptions at the discipline’s foundation. Their project is to excavate the lost continuities between philosophical aesthetics, contemporary theory, and art history through close readings of figures as various as Michael Baxandall, Martin Heidegger, Jacques Lacan, and Alois Riegl. Ultimately, the authors propose that we might reframe the questions concerning art history by asking what kind of writing might help the discipline to better imagine its actual practices—and its potential futures.

Writing Beijing offers a comprehensive study of the textual representations of the city from the late Ming dynasty through the Republican era, interrogating how urban narratives were actively constructed, adapted, and repurposed across periods of political transformation. Scholars, officials, and travelers reshaped the capital’s identity by rewriting older texts, borrowing new surveys, and even inserting critiques into guidebooks.. This study reveals how the crises brought by intense social transformation, including dynastic collapse and foreign invasion, forced writers to reinvent Beijing on paper. Some turned the city into a monument to lost glory; others documented everyday life to resist imperialism. These narratives served to critique contemporary sociopolitical conditions, assert cultural legitimacy during times of crisis, and ultimately shape Beijing’s enduring cultural image as China’s symbolic capital.

Naixi Feng bridges literary studies, urban history, and critical historiography by examining a wide range of genres—including literary miscellanies, local gazetteers, Qing imperial compilations, Republican textbooks, social reports, and travel guides—to demonstrate how writing about Beijing was never merely descriptive but always a site of cultural and political contestation. 

The first in-depth examination of the texts produced in English Benedictine convents between 1600 and 1800.

After Catholicism became illegal in England during the sixteenth century, Englishwomen established more than twenty convents on the Continent that attracted thousands of nuns and served as vital centers of Catholic piety until the French Revolution. Today more than 1,000 manuscripts and books produced by, and for, the Benedictine convents are extant in European archives. Writing Habits: Historicism, Philosophy, and English Benedictine Convents, 1600–1800 provides the first substantive analysis of these works in order to examine how members of one religious order used textual production to address a major dilemma experienced by every English convent on the Continent: How could English nuns cultivate a cloistered identity when the Protestant Reformation had swept away nearly all vestiges of English monasticism?

Drawing on an innovative blend of methodologies, Jaime Goodrich contends that the Benedictines instilled a collective sense of spirituality through writings that created multiple overlapping communities, ranging from the earthly society of the convent to the transhistorical network of the Catholic Church. Because God resides at the heart of these communities, Goodrich draws on the works of Martin Buber, a twentieth-century Jewish philosopher who theorized that human community forms a circle, with each member acting as a radius leading toward the common center of God. Buber’s thought, especially his conception of the I-You framework for personal and spiritual relationships, illuminates a fourfold set of affiliations central to Benedictine textual production: between the nuns themselves, between the individual nun and God, between the convent and God, and between the convent and the Catholic public sphere. By evoking these relationships, the major genres of convent writing—administrative texts, spiritual works, history and life writing, and controversial tracts—functioned as tools for creating community and approaching God.

Through this Buberian reading of the cloister, Writing Habits recovers the works of Benedictine nuns and establishes their broader relevance to literary history and critical theory.
 

Writing History in the Digital Age began as a “what-if” experiment by posing a question: How have Internet technologies influenced how historians think, teach, author, and publish? To illustrate their answer, the contributors agreed to share the stages of their book-in-progress as it was constructed on the public web.

To facilitate this innovative volume, editors Jack Dougherty and Kristen Nawrotzki designed a born-digital, open-access, and open peer review process to capture commentary from appointed experts and general readers. A customized WordPress plug-in allowed audiences to add page- and paragraph-level comments to the manuscript, transforming it into a socially networked text. The initial six-week proposal phase generated over 250 comments, and the subsequent eight-week public review of full drafts drew 942 additional comments from readers across different parts of the globe.

The finished product now presents 20 essays from a wide array of notable scholars, each examining (and then breaking apart and reexamining) if and how digital and emergent technologies have changed the historical profession.

A study of cultural encounter, this book takes a fresh look at the much ignored and often misunderstood experience of Christian Indians in early America. Focusing on New England missionary settlements from the mid-seventeenth to the early nineteenth centuries, Hilary E. Wyss examines the ways in which Native American converts to Christianity developed their own distinct identity within the context of a colonial culture. 

With an approach that weaves together literature, religious studies, and ethno-history, Wyss grounds her work in the analysis of a rarely read body of “autobiographical” writings by Christian Indians, including letters, journal entries, and religious confessions. She then juxtaposes these documents to the writings of better known Native Americans like Samson Occom as well as to the published works of Anglo-Americans, such as Mary Rowlandson's famous captivity narrative and Eleazor Wheelock's accounts of his charity schools. 

In their search for ostensibly “authentic” Native voices, scholars have tended to overlook the writings of Christian Indians. Yet, Wyss argues, these texts reveal the emergence of a dynamic Native American identity through Christianity. More specifically, they show how the active appropriation of New England Protestantism contributed to the formation of a particular Indian identity that resisted colonialism by using its language against itself.