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From popular culture to politics to classic novels, quintessentially American texts take their inspiration from the idea of infinity. In the extraordinary literary century inaugurated by Ralph Waldo Emerson, the lyric too seemed to encounter possibilities as limitless as the U.S. imagination. This raises the question: What happens when boundlessness is more than just a figure of speech? Exploring new horizons is one thing, but actually looking at the horizon itself is something altogether different. In this carefully crafted analysis, James von der Heydt shines a new light on the lyric craft of Emily Dickinson, Robert Frost, Elizabeth Bishop, and James Merrill and considers how their seascape-vision redefines poetry's purpose.

Emerson famously freed U.S. literature from its past and opened it up to vastness; in the following century, a succession of brilliant, rigorous poets took the philosophical challenges of such freedom all too seriously. Facing the unmarked horizon, Emersonian poets capture—and are captured by—a stark, astringent version of human beauty. Their uncompromising visions of limitlessness reclaim infinity's proper legacy—and give American poetry its edge. Von der Heydt's book recovers the mystery of their world.

Capital at the Brink reveals the pervasiveness, destructiveness, and dominance of neoliberalism within American society and culture. The contributors to this collection also offer points of resistance to an ideology wherein, to borrow Henry Giroux’s comment, “everything either is for sale or is plundered for profit.” The first step in fighting neoliberalism is to make it visible. By discussing various inroads that it has made into political, popular, and literary culture, Capital at the Brink is taking this first step and joining a global resistance that works against neoliberalism by revealing the variety of ways in which it dominates and destroys various dimensions of our social and cultural life.

The Man Who Thought He Owned Water is author Tershia d’Elgin’s fresh take on the gravest challenge of our time—how to support urbanization without killing ourselves in the process. The gritty story of her family’s experience with water rights on its Colorado farm provides essential background about American farms, food, and water administration in the West in the context of growing cities and climate change. Enchanting and informative, The Man Who Thought He Owned Water is an appeal for urban-rural cooperation over water and resiliency.
 
When her father bought his farm—Big Bend Station—he also bought the ample water rights associated with the land and the South Platte River, confident that he had secured the necessary resources for a successful endeavor. Yet water immediately proved fickle, hard to defend, and sometimes dangerous. Eventually those rights were curtailed without compensation. Through her family’s story, d’Elgin dramatically frames the personal-scale implications of water competition, revealing how water deals, infrastructure, transport, and management create economic growth but also sever human connections to Earth’s most vital resource. She shows how water flows to cities at the expense of American-grown food, as rural land turns to desert, wildlife starves, the environment degrades, and climate change intensifies.
 
Depicting deep love, obsession, and breathtaking landscape, The Man Who Thought He Owned Water is an impassioned call to rebalance our relationship with water. It will be of great interest to anyone seeking to understand the complex forces affecting water resources, food supply, food security, and biodiversity in America.
 

As one of the world’s great natural treasures, the Great Lakes have also served in recent decades as an early warning system for many emerging environmental problems. In the early twenty-first century, as the Lakes face unprecedented challenges, we need to revisit both the wonder of the Lakes and the perils plaguing them, and to take action to protect this majestic ecosystem. 
     Dave Dempsey weaves the natural character and phenomena of the Great Lakes and stories of the schemes, calamities, and unusual human residents of the Basin with the history of their environmental exploitation and recovery. Contrasting the incomparable beauty and complexity of the Lakes, and the poetry, folklore, and citizen action they have inspired, with the disasters that short-sighted human folly has inflicted on the ecosystem, Dempsey makes this history both engaging and relevant to today’s debates and decisions.
     Underlying the neglectful treatment of the Lakes are two irreconcilable and faulty human assumptions: that the Lakes are a system so big that human beings cannot do great harm to it, and that the Lakes are a resource that can be bent to the will of humankind. Dempsey finds evidence that, despite great changes in the laws governing the Lakes and public attitudes toward them in the last fifty years, government policy and institutions are still dominated by these dangerous attitudes.
     A central theme of On the Brink is that citizens, who have displayed an increasing sense of commitment to the Lakes and a growing sense of place, must challenge their leaders to reform Great Lakes institutions. While everything from large-scale water exports to global climate change looms in the future of the Lakes, single-purpose solutions do not suffice—no more than a Band- aid would on a gaping wound. Dempsey shows that it is necessary to create a governing system that reflects the realities of life “on the ground” in communities and that taps into the passion and determination of citizens to protect these treasures.

In The Brink of Freedom David Kazanjian revises nineteenth-century conceptions of freedom by examining the ways black settler colonists in Liberia and Mayan rebels in Yucatán imagined how to live freely. Focusing on colonial and early national Liberia and the Caste War of Yucatán, Kazanjian interprets letters from black settlers in apposition to letters and literature from Mayan rebels and their Creole antagonists. He reads these overlooked, multilingual archives not for their descriptive content, but for how they unsettle and recast liberal forms of freedom within global systems of racial capitalism. By juxtaposing two unheralded and seemingly unrelated Atlantic histories, Kazanjian finds remarkably fresh, nuanced, and worldly conceptions of freedom thriving amidst the archived everyday. The Brink of Freedom’s speculative, quotidian globalities ultimately ask us to improvise radical ways of living in the world.