Perhaps no one would be more shocked at the steady rise of his literary reputation—on a truly global scale—Than Edgar Allan Poe himself. Poe's literary reputation has climbed steadily since his death in 1849.

In Poe Abroad, Lois Vines has brought together a collection of essays that document the American writer's influence on the diverse literatures—and writers—of the world. Over twenty scholars demonstrate how and why Poe has significantly influenced many of the major literary figures of the last 150 years.

Part One includes studies of Poe's popularity among general readers, his influence on literary movements, and his reputation as a poet, fiction writer, and literary critic. Part Two presents analyses of the role Poe played in the literary development of specific writers representing many different cultures.

Poe Abroad commemorates the 150th anniversary of Poe's death and celebrates his worldwide impact, beginning with the first literal translation of Poe into a foreign language, “The Gold-Bug”into French in 1845. Charles Baudelaire translated another Poe tale in 1848 and four years later wrote an essay that would make Poe a well-known author in Europe even before he achieved recognition in America.

Poe died knowing only that some of his stories had been translated into French. He probably never would have imagined that his work would be admired and imitated as far away as Japan, China, and India or would have a lasting influence on writers such as Baudelaire, August Strindberg, Franz Kafka, Jorge Luis Borges, Julio Cortázar, and Tanizaki Junichiro.

As we approach the sesquicentennial of his death, Poe Abroad brings together a timely one-volume assessment of Poe's influence throughout the world.

The writings of William Gilmore Simms (1806-1870) provide a sweeping fictional portrait of the colonial and antebellum South in all of its regional diversity. Simms's account of the region is more comprehensive than that of any other author of his time; he treats the major intellectual and social issues of the South and depicts the bonds and tensions among all of its inhabitants. By the mid-1840s Simms's novels were so well known that Edgar Allan Poe could call him "the best novelist which this country has, on the whole, produced." The thirteenth volume in the ongoing Arkansas Edition of the works of Simms, The Partisan is the first in order of publication of Simms's Revolutionary War romances. Although Simms took advantage of the novelist's prerogative to invent characters and events for his saga, he did so with a historian's eye, making extensive use of official histories; letters, diaries, and other documents; family traditions; and unpublished and published memoirs. Simms gives human interest to the novel's historical framework with two love triangles, mixing romantic conventions with gritty realism that outlines the four classes of Simms's ideal society. The Partisan is also remarkable among Simms's work for its use of symbols, indicating, perhaps, a new intention for the novel. The result is a satisfying work of literary art enlivened with adventure and humor while remaining true to the history behind it.

Emily Dickinson and Walt Whitman are widely acknowledged as two of America’s foremost nature poets, primarily due to their explorations of natural phenomena as evocative symbols for cultural developments, individual experiences, and poetry itself. Yet for all their metaphorical suggestiveness, Dickinson’s and Whitman’s poems about the natural world neither preclude nor erase nature’s relevance as an actual living environment. In their respective poetic projects, the earth matters both figuratively, as a realm of the imagination, and also as the physical ground that is profoundly affected by human action. This double perspective, and the ways in which it intersects with their formal innovations, points beyond their traditional status as curiously disparate icons of American nature poetry. That both of them not only approach nature as an important subject in its own right, but also address human-nature relationships in ethical terms, invests their work with important environmental overtones.

Dickinson and Whitman developed their environmentally suggestive poetics at roughly the same historical moment, at a time when a major shift was occurring in American culture’s view and understanding of the natural world. Just as they were achieving poetic maturity, the dominant view of wilderness was beginning to shift from obstacle or exploitable resource to an endangered treasure in need of conservation and preservation.

A Place for Humility examines Dickinson’s and Whitman’s poetry in conjunction with this important change in American environmental perception, exploring the links between their poetic projects within the context of developing nineteenth-century environmental thought. Christine Gerhardt argues that each author's poetry participates in this shift in different but related ways, and that their involvement with their culture’s growing environmental sensibilities constitutes an important connection between their disparate poetic projects. There may be few direct links between Dickinson’s “letter to the World” and Whitman’s “language experiment,” but via a web of environmentally-oriented discourses, their poetry engages in a cultural conversation about the natural world and the possibilities and limitations of writing about it—a conversation in which their thematic and formal choices meet on a surprising number of levels.

 In this surprisingly timely book, Stephen Mack examines Whitman’s particular and fascinating brand of patriotism: his far-reaching vision of democracy. For Whitman, loyalty to America was loyalty to democracy. Since the idea that democracy is not just a political process but a social and cultural process as well is associated with American pragmatism, Mack relies on the pragmatic tradition of Emerson, James, Dewey, Mead, and Rorty to demonstrate the ways in which Whitman resides in this tradition.

Mack analyzes Whitman's democratic vision both in its parts and as a whole; he also describes the ways in which Whitman's vision evolved throughout his career. He argues that Whitman initially viewed democratic values such as individual liberty and democratic processes such as collective decision-making as fundamental, organic principles, free and unregulated. But throughout the 1860s and 1870s Whitman came to realize that democracy entailed processes of human agency that are more deliberate and less natural—that human destiny is largely the product of human effort, and a truly humane society can be shaped only by intelligent human efforts to govern the forces that would otherwise govern us.

Mack describes the foundation of Whitman’s democracy as found in the 1855 and 1856 editions of Leaves of Grass, examines the ways in which Whitman’s 1859 sexual crisis and the Civil War transformed his democratic poetics in “Sea-Drift,” “Calamus,” Drum-Taps,and Sequel to Drum-Taps, and explores Whitman’s mature vision in Democratic Vistas, concluding with observations on its moral and political implications today. Throughout, he illuminates Whitman's great achievement—learning that a full appreciation for the complexities of human life meant understanding that liberty can take many different and conflicting forms—and allows us to contemplate the relevance of that achievement at the beginning of the twenty-first century.

Although best known as a master of the formal lyric poem, Louise Bogan (1897–1970) also published fiction and what would now be called lyrical essays. A Poet’s Prose: Selected Writings of Louise Bogan showcases her devotion to compression, eloquence, and sharp truths.

Louise Bogan was poetry reviewer for the New Yorker for thirty-eight years, and her criticism was remarkable for its range and effect. Bogan was responsible for the revival of interest in Henry James and was one of the first American critics to notice and review W. H. Auden. She remained intellectually and emotionally responsive to writers as different from one another as Caitlin Thomas, Dorothy Richardson, W. B. Yeats, André Gide, and Rainer Maria Rilke.

Bogan’s short stories appeared regularly in magazines during the 1930s, penetrating the social habits of the city as well as the loneliness there. The autobiographical element in her fiction and journals, never entirely confessional, spurred some of her finest writing. The distinguished poet and critic Mary Kinzie provides in A Poet’s Prose a selection of Bogan's best criticism, prose meditations, letters, journal entries, autobiographical essays, and published and unpublished fiction.

Louise Bogan won the Bollingen Prize in 1954 for her collected poems. She is the subject of the Pulitzer Prize-winning biography by Elizabeth Frank, Louise Bogan: A Portrait.

Collected from his published and heretofore unpublished work, the love poems of John Ciardi in Poems of Love and Marriage are a rich display of gentle wit, emotion, and craft. Not merely lyrics of youthful romance, these span the course of a love affair, of a life shared from first blush to old age.

These poems never disturb the sanctity of the private moment, but transcend the specific situation and bloom into universal recognition. And in his usual way of basking in those qualities which transform the ordinary into the unique, John Ciardi finds poignancy and truth in those elements of love and living together that so often go unnoticed.

The lifework in verse of one of the century’s finest and liveliest American poets, this collection of the poems of J. V. Cunningham (1911-85) documents the poet’s development from his early days as an experimental modernist during the Depression to his emergence as the master of the classical “plain style”—distinguished by its wit, feeling, and subtlety.

Often identified with the epigram—a genre in which he excelled as distinctively as Jonson, Herrick, and Landor—Cunningham also wrote in a wide range of other poetic forms and was a remarkable translator. This collection, designed to show the poet’s range and skill, incorporates the materials of his 1971 Collected Poems and Epigrams and restores their original arrangement. It also adds many of his later poems and translations and some uncollected pieces from his periodicals.

Timothy Steele’s notes and introduction assist in re-establishing Cunningham’s position as a twentieth-century original, a poet who is remembered equally for emotional power and stylistic purity.

The Problem of the Future World is a compelling reassessment of the later writings of the iconic African American activist and intellectual W. E. B. Du Bois. As Eric Porter points out, despite the outpouring of scholarship devoted to Du Bois, the broad range of writing he produced during the 1940s and early 1950s has not been thoroughly examined in its historical context, nor has sufficient attention been paid to the theoretical interventions he made during those years. Porter locates Du Bois’s later work in relation to what he calls “the first postracial moment.” He suggests that Du Bois’s midcentury writings are so distinctive and so relevant for contemporary scholarship because they were attuned to the shape-shifting character of modern racism, and in particular to the ways that discredited racial taxonomies remained embedded and in force in existing political-economic arrangements at both the local and global levels. Porter moves the conversation about Du Bois and race forward by building on existing work about the theorist, systematically examining his later writings, and looking at them from new perspectives, partly by drawing on recent scholarship on race, neoliberalism, and empire. The Problem of the Future World shows how Du Bois’s later writings help to address race and racism as protean, global phenomena in the present.

In looking back on his editorship of Crisis magazine, W. E. B. Du Bois said, “We condensed more news about Negroes and their problems in a month than most colored papers before this had published in a year.” Since its founding by Du Bois in 1910, Crisis has been the primary published voice of the NAACP. Born in an age of Jim Crow racism, often strapped for funds, the magazine struggled and endured, all the while providing a forum for people of color to document their inherent dignity and proclaim their definitive worth as human beings.

As the magazine’s editor from 1910 until 1934, Du Bois guided the content and the aim of Crisis with a decisive hand. He ensured that each issue argued for civil rights, economic justice, and social equality, always framing America’s intractable color line in an international perspective. Du Bois benefited from a deep pool of black literary and artistic genius, whether by commissioning the visual creativity of Harlem Renaissance artists for Crisis covers or by publishing poems and short stories from New Negro writers. From North to South, from East to West, and even reaching across the globe, Crisis circulated its ideas and marshaled its impact far and wide.

Building on the solid foundation Du Bois laid, subsequent editors and contributors covered issues vital to communities of color, such as access to resources during the New Deal era, educational opportunities related to the historic Brown decision, the realization of basic civil rights at midcentury, American aid to Africa and Caribbean nations, and the persistent economic inequalities of today’s global era.

Despite its importance, little has been written about the historical and cultural significance of this seminal magazine. By exploring how Crisis responded to critical issues, the essays in Protest and Propaganda provide the first well-rounded, in-depth look at the magazine's role and influence. The authors show how the essays, columns, and visuals published in Crisis changed conversations, perceptions, and even laws in the United States, thereby calling a fractured nation to more fully live up to its democratic creed. They explain how the magazine survived tremendous odds, document how the voices of justice rose above the clamor of injustice, and demonstrate how relevant such literary, journalistic, and artistic postures remain in a twenty-first-century world still in crisis.

Edna Ferber, the Pulitzer Prize-winning author of Show Boat and Giant, achieved her first great success with a series of stories featuring Emma McChesney: a smart, stylish, divorced mother who in a mere twelve years rose from stenographer to traveling sales representative to business manager and partner of the T. A. Buck Featherloom Petticoat Company.
 
In this second of three volumes chronicling the travels and trials of Emma McChesney, the plucky heroine trades in her traveling bag and coach tickets for an office and a position a T. A. Buck Jr.'s business partner. Along with this well-earned promotion comes the home–-with a fireplace–-that she had longed for during her ten years on the road.      
 
Her dashing son Jock, now twenty-one, has just entered the business world himself with the Berg, Shriner Advertising company. His colleagues believe that with his heritage he "ought to be able to sell ice to an eskimo." Indeed, Jock dazzles them with his keen business sense and exemplary work ethic, but goes overboard on the charm and ends up alienating clients, unnerving his boss, and even patronizing his business-savvy mother. When his company takes on the challenge of  creating a zippy advertising campaign for T. A. Buck's no-frills petticoats, Jock comes through, but not without a reminder that mother always knows best.
 
In this bracingly modern novel, first published in 1914, Ferber contrasts the virtues of talent with those of experience to provide a fresh, readable, and smartly entertaining contest between a mother and her adult son.
 

Kenneth Rexroth wrote: “Janet Lewis uses reason to veil and adorn the flesh of feeling and intuition. This is the way the greatest poetry has always been written.”

The poems in this collection range over a period of 60 years. The style is spare, direct, cutting to the core of subject. Richness of intelligence and a concern for the human has also characterized every phase of Lewis’ development.

With a new introduction by A.E. Stringer, this reprint of Louise McNeill's classic work remains as vivid as when it was first published. Containing poems from several decades of her career, Paradox Hill: From Appalachia to Lunar Shore is a must-have collection of a beloved poet's heartfelt exploration of her physical and cultural surroundings.

Josefina Niggli (1910–1983) was one of the most successful Mexican American writers of the early twentieth century. Born of European parents and raised in Mexico, she spent most of her adult life in the United States, and in her plays and novels she aimed to portray authentic Mexican experiences for English-speaking audiences. Niggli crossed borders, cultures, and genres, and her life and work prompt interesting questions about race, class, gender, modernity, ethnic and national identity, and the formation of literary canons.
    Although Niggli is perhaps best known for her fiction and folk plays, this anthology recovers her historical dramas, most of which have been long out of print or were never published. These plays are deeply concerned with the aftermath of the 1910 Mexican Revolution, imagining its implications for Mexico, Mexican Americans, and U.S.-Mexico relations. Included are Mexican Silhouettes (1928), Singing Valley (1936), The Cry of Dolores (1936), The Fair God (1936), Soldadera (1938), This is Villa! (1939), and The Ring of General Macias (1943). These works reflect on the making of history and often portray the Revolution through the lens of women’s experiences.
            Also included in this volume are an extensive critical introduction to Niggli, a chronology of her life and writings, plus letters and reviews by, to, and about Josefina Niggli. that provide illuminating context for the plays.

 

 

“The Best of the Best of the University Presses: Books You Should Know About” presented at the 2008 American Library Association Annual Conference

"One of the finest - and most unaccountably neglected - of Chicago novels by and about women. The book is strongly feminist in tone and message. . . . also a fine work of literature."--Robert Bray, A Reader's Guide to Illinois Literature
 

Pound in Purgatory, available now in paperback, overturns all previous explanations of Ezra Pound's anti-Semitism by uncovering its roots in economic and conspiracy theory. Leon Surette demonstrates that, contrary to popular opinion, Pound was not a life-long anti-Semite and consistently ignored or resisted anti-Semitic comments from his correspondents until after 1931.
 
From 1931 to 1945 Pound's poetry took a back seat to his activities as an economic reformer and propagandist for the corporate state. Pound believed he had a simple and practical solution for the economic woes of the world brought on by the Great Depression, and he became increasingly preoccupied with capturing political power for the economic reform he envisioned.
 
As the world spiraled toward war, Pound's program of economic reform foundered and he gradually succumbed to a paranoid belief in a Jewish conspiracy. Through an incisive analysis of Pound's correspondence and writings, much of it previously unexamined, Surette shows how this belief fostered the virulent anti-Semitism that pervades his work-–both poetry and prose-–from this time forward.
 

Philadelphia sports—anchored by the Eagles, Flyers, Phillies, and 76ers—have a long, and sometimes tortured, history. Philly fans have booed more than their share and have earned a reputation as some of the most hostile in the country. They’ve been known, so the tales go, to jeer Santa Claus and cheer at the injury of an opposing player.

Strangely though, much of America’s perception of Philadelphia sports has been shaped by a fictional figure: Rocky. The series of Hollywood films named after their title character has told and retold the Cinderella story of an underdog boxer rising up against long odds. One could plausibly make the argument that Rocky is Philadelphia’s most famous athlete.

Beyond the major sports franchises and Rocky, lesser-known athletic competition in Philadelphia offers much to the interested observer. The city’s boxing culture, influence on Negro Leagues baseball, role in establishing interscholastic sport, and leadership in the rise of cricket all deserve and receive close investigation in this new collection.  Philly Sports combines primary research and personal experiences—playing in the Palestra, scouting out the tombstones of the city’s best athletes, enjoying the fervor of a Philadelphia night with a local team in pursuit of a championship title. The essence of Philadelphia sport, and to a certain extent the city itself, is distilled here.

Two friends, a lifetime of letters, and an intimate look at a literary icon

Carl Sandburg first encountered Kenneth Dodson through a letter written at sea during World War II. Though Dodson wrote the letter to his wife, Letha, Sandburg read it in tears and told her, "I've got to meet this man." Composed primarily of their correspondence that continued until Sandburg's death in 1967, The Poet and the Sailor is a chronicle of the deep friendship that followed. Ranging over anything they found important, from writing to health and humor, the letters are arranged by Richard Dodson and are accompanied by a foreword from Sandburg's noted biographer, Penelope Niven.

"These letters reveal the thoughts of two fine, strong minds drawn to each other first by their interest in socialism, then by their love of poetry and a similarity of ethics and ideals. My mother recognized this in his early prose and poetry. They learned so much about each other from these letters, yet it seems extraordinary that there was so little personal contact."-- From the introduction by Margaret Sandburg
 

An extraordinary novel, told partly in verse, The People from Heaven takes place in 1943 in Warrensburg, New York, where Eli Bishop, a white shopkeeper, initiates a reign of terror on the populace following his rape of America Smith, a black woman. The author, John Sanford, is considered by many to be one of the finest little-known writers of the twentieth century. In his introduction, Alan Wald provides an overview of Sanford's career, his art, and his politics.
 

Samuel Steward (1909–93) was an English professor, a tattoo artist for the Hells Angels, a sexual adventurer who shared the considerable scope of his experiences with Alfred Kinsey, and a prolific writer whose publications ranged from scholarly articles to gay erotica (the latter appearing under the pen name Phil Andros). Perhaps his oddest authorial role was as a monthly contributor between 1944 and 1949 to the Illinois Dental Journal, an obscure trade publication for dentists, where writing as Philip Sparrow he produced a series of charming, richly allusive, and often quirky essays on a wildly eclectic assortment of topics.

In Philip Sparrow Tells All, Jeremy Mulderig has collected thirty of these engaging but forgotten columns, prefacing them with revealing introductions that relate the essays to people and events in Steward’s life and to the intellectual and cultural contexts in which he wrote during the 1940s. In these essays we encounter such famous friends of Steward as Gertrude Stein, André Gide, and Thornton Wilder. We hear of his stint as a holiday sales clerk at Marshall Field’s (where he met and seduced fellow employee Rock Hudson), of his roles as an opera and ballet extra in hilariously shoddy costumes, of his hoarding tendencies, his disappointment with the drabness of men’s fashions, and his dread of turning forty. We go along with him to a bodybuilding competition and a pet cemetery, and together we wander the boulevards of Paris and the alleys of Algiers. Throughout, Mulderig’s entertaining annotations explain the essays’ wide-ranging allusions and also highlight their gay subtext, which constituted a kind of private game that Steward played with his mostly oblivious audience of Midwestern dentists.

The first collection of any of Samuel Steward’s writings to be republished since his death in 1993, Philip Sparrow Tells All makes these lost essays available to a broad readership that Steward imagined but never actually enjoyed when he wrote them. In doing so, it takes a major step toward documenting his important place in twentieth-century gay literature and history.

The novels and nonfiction work of writer Frank Waters stand as a monument to his genius and to his lifetime quest to plumb the spiritual depths that he found for himself in the landscape and people of his beloved Southwest. In a career spanning more than half a century, he shared, through his many books, his insights and discoveries with countless readers across the globe.

Now, drawn from rare editorials, speeches, and essays that Frank Waters authored over the years as a reflection and a formation of his life-long themes, Pure Waters provides a treasure trove of exciting new material from this giant of the American Southwest.

In celebration of the centenary of his birth, Swallow Press is pleased to offer this new collection by one of its bestselling and most inspiring authors.

One of Frank Waters’s most popular novels, People of the Valley takes place high in the Sangre de Cristo Mountains where an isolated Spanish-speaking people confront a threatening world of change.

In Publishing the Family June Howard turns a study of the collaborative novel The Whole Family into a lens through which to examine American literature and culture at the beginning of the twentieth century. Striving to do equal justice to historical particulars and the broad horizons of social change, Howard reconsiders such categories of analysis as authorship, genre, and periodization. In the process, she offers a new method for cultural studies and American studies at the beginning of the twenty-first century.
Publishing the Family describes the sources and controversial outcome of a fascinating literary experiment. Howard embeds the story of The Whole Family in the story of Harper & Brothers’ powerful and pervasive presence in American cultural life, treating the publisher, in effect, as an author.
Each chapter of Publishing the Family casts light on some aspect of life in the United States at a moment that arguably marked the beginning of our own era. Howard revises common views of the turn-of-the-century literary marketplace and discusses the perceived crisis in the family as well as the popular and expert discourses that emerged to remedy it. She also demonstrates how creative women like Bazar editor Elizabeth Jordan blended their own ideas about the “New Woman” with traditional values. Howard places these analyses in the framework of far-reaching historical changes, such as the transformation of the public meaning of emotion and “sentimentality.” Taken together, the chapters in Publishing the Family show how profoundly the modern mapping of social life relies on boundaries between family and business, culture and commerce, which The Whole Family and Publishing the Family constantly unsettle.
Publishing the Family will interest students and scholars of American history, literature, and culture, as well as those studying gender, sexuality, and the family.

Winner of the 2014 Autumn House Press Poetry Contest, selected by Alicia Ostriker. Akers' collection of lyric poems celebrates our everyday world while not glossing over the pain suffered by those who inhabit it. These beautifully crafted, quiet poems are simultaneously powerful to read.

Improvising on the tropes of classic pulp fiction, including genres like crime noir, horror, sci-fi, superhero, espionage, and vigilante, Tony Barnstone’s audacious new poems are counterpointed by the mischievous (and blood-splattered) ink drawings of Iranian artist Amin Mansouri. At times reinventing the sonnet tradition, Barnstone’s linked sequences evoke serial-format comics and cinema, as each series breaks into discrete frames propelled by action. The ancient gods and epics have been high-jacked by animations and video games, but pulp remains unconquerable — ghastly, shameless, outrageous — and fun!

Part homage, part exploration, The Plath Cabinet offers a new window onto Sylvia Plath’s world, from her hand-made dolls and her passport to a preserved lock of her hair. The Plath Cabinet is not simply an unparalleled biography: it is a memoir in poems, telling the story of Bowman’s relationship to Plath and to poetry. The Plath Cabinet is a must-read for Plath-lovers, for anyone interested in memoir and biography, and for all readers of contemporary poetry.

Jane Bradley's career was launched when the University of Arkansas Press published her first collection of short stories, Power Lines, in 1989. The collection, lauded at the time by the New York Times, Library Journal, Publishers Weekly, and others, is available again, bringing readers this writing filled with sympathy for and understanding of ordinary lives, and as the New York Times book review said at its publication, writing filled also with promise for Bradley’s future.

On page after enigmatic page, Killarney Clary shows us her mastery of the prose poem in this spiritual biography that journeys across the natural landscape while plumbing the dizzying depths of the psyche. Potential Stranger reveals that in the public world we are all called upon to perform: as children, we are expected to find a place in the uniform; as entertainers, to play an exaggerated version of ourselves; and, as explorers, to rest content when we have reached our destination. Precise, prophetic, and spare, Clary reminds us that of all the potential strangers we may meet in our travels, people who forever "remain behind gestures and posture," the first and last of those is always the self.

Winner of the 1999 Paterson Poetry Prize

Over the past decade, Billy Collins has emerged as the most beloved American poet since Robert Frost, garnering critical acclaim and broad popular appeal. Annie Proulx admits, "I have never before felt possessive about a poet, but I am fiercely glad that Billy Collins is ours." John Updike proclaims his poems "consistently startling, more serious than they seem, they describe all the worlds that are and were and some others besides."

This special, limited edition celebrates Billy Collins's years as U.S. Poet Laureate. Picnic, Lightning--one of the books that helped establish and secure his reputation and popularity during the 1990s--combines humor and seriousness, wit and sublimity. His poems touch on a wide range of subjects, from jazz to death, from weather to sex, but share common ground where the mind and heart can meet. Whether reading him for the first time or the fiftieth, this collector's edition is a must-have for anyone interested in the poet the New York Times calls simply "the real thing."

The Pox Lover is a personal history of the turbulent 1990s in New York City and Paris by a pioneering American AIDS journalist, lesbian activist, and daughter of French-Haitian elites. In an account that is by turns searing, hectic, and funny, Anne-christine d'Adesky remembers "the poxed generation" of AIDS—their lives, their battles, and their determination to find love and make art in the heartbreaking years before lifesaving protease drugs arrived.

D'Adesky takes us through a fast-changing East Village: squatter protests and civil disobedience lead to all-night drag and art-dance parties, the fun-loving Lesbian Avengers organize dyke marches, and the protest group ACT UP stages public funerals. Traveling as a journalist to Paris, an insomniac d'Adesky trolls the Seine, encountering waves of exiles fleeing violence in the Balkans, Haiti, and Rwanda. As the last of the French Nazis stand trial and the new National Front rises in the polls, d'Adesky digs into her aristocratic family's roots in Vichy France and colonial Haiti. This is a testament with a message for every generation: grab at life and love, connect with others, fight for justice, keep despair at bay, and remember.

In The Perp Walk, his latest collection of linked stories, Daniels maps out the emotional capitals and potholes of coming of age in a blue-collar town in the Great Lakes State, though it could be any state where people work hard, play hard, and aren’t paid nearly enough for their efforts. Alternating flash fiction pieces with longer narratives, Daniels captures both the shooting stars and the constellations that build into earned insights and honest reflections. Sometimes we need both the long version of the short version and the short version of the long version, he suggests. Daniels invites his readers to settle on some truth in between the versions. Humor and heartbreak. Coming to terms, coming of age, or just plain aging. U-Haul trucks full of bad behavior and messy goodbyes. In Daniels’s work, the check is always in the mail but somehow never arrives, and honor is more than a certificate—it’s something we strive for, even while doing our various perp walks through life. Compromises are made, as they must be. Sometimes we get what we want for just a second or two, but for these characters, that has to be enough happiness to live on.

2007 A Notable Fiction Book of 2007, selected by the Kiriyama Prize Committee

 

Winner, Fiction Award, Southern Independent Bookstore Alliance

 

Notable Fiction, Kiriyama Pacific Rim Book Prize

 When Gramp tied those thin-bodied ephemerella, as he called them, on size-eighteen hooks, their pale green bodies and diaphanous gray wings reminded us of tiny, unmoored sailboats, and when the duns themselves were adrift upon the surface of the pool, we watched as an entire armada of delicate, translucent ships spun and took flight. . . . I couldn't fish right away. I never can when the duns first come up. I have to watch them, suddenly upon the surface, their wings drying for that one day of life above the stream. . . . To have a chance at life, each pale dun for a time must drift, ignorant of the forms that wait below.

In the thirteen stories of Pale Morning Dun, Richard Dokey endeavors to suggest common truths that uncover the human reality any time, in any place. He explores the ephemeral nature of life through an assemblage of characters as diverse as the settings they inhabit: from a beggar on the streets of San Francisco, “The West Coast Coliseum of Consumption,” to a boy and his brother fly-fishing in a peaceful mountain stream, unaware that they have stumbled upon the threshold of a horrific crime; from a desperate husband pursuing his estranged wife into the bloody arena of a bullfight, to a lakeside cottage where two lovers reveal perhaps too much of themselves. Each uniquely rendered character faces a dilemma that leads him beyond what he knows of himself, forcing him to new insights. The characters’ struggles, though distinctively their own, reveal universal truths about human nature and the transient quality of life. Employing an inspired blend of humor, irony, and imagination in seamless narration, Dokey allows one to enter readily into these idiosyncratic lives, inviting the reader to explore his own capacity to be human, to empathize and respond.

The President of the United States, says the Constitution, cannot act in many specified instances without the "advice and consent" of Congress. But "advice" is not a strong word. And taking or not taking advice is a fairly nebulous situation . . . creating an instability, a fundamental ambiguity, at the very heart of power, between the Congress and the President. It is this instability, and this wide-openness, that allows the free play of the more intangible types of power that begin where the constitution breaks off: sex, personality, and character. Things which are left out of civics textbooks are what Allen Drury took as his subject in such novels as Advise and Consent, A Shade of Difference, and Capable of Honor.

Coal burns underground and destroys a small town. A woman confronts police officers with her pet copperheads. A young girl drinks Drano. A man is banned from his favorite bar.

Within these eleven short stories, Flannery O’Connor Award winner and poet Gary Fincke brings into focus the small struggles of ordinary people. The characters within this collection, from boys and girls to fathers, mothers, and the aging, live in cities, in towns, and in rural areas. Yet, no matter the surroundings, all seem alone within a collective anxiety. Set against extraordinary events, such as the Three Mile Island accident, the Challenger Disaster, and the Kennedy assassination, these stories personalize history through a juxtaposition between large and small tragedies and the unflinching desire to find insight within and redemption from weakness and shortcoming.

Pure is a fierce, passionate series of meditations on experience and consciousness, morals and customs, and on the natural world that surrounds and shapes human life. What is “pure” is the intensity of Carol Frost’s gaze?

          Alice Fulton's writing has been characterized by The New Yorker
          as "electrifying," and the poet herself, according to Publishers
          Weekly, "may be Dickinson's postmodern heir."
 

Celebrates and illuminates the legacy of one of America’s most innovative and consequential 20th century novelists

In 2002, following the posthumous publication of William Gaddis’s collected nonfiction and his final novel and Jonathan Franzen’s lengthy attack on him in The New Yorker, a number of partisan articles appeared in support of Gaddis’s legacy. In a review in The London Review of Books, critic Hal Foster suggested a reason for disparate responses to Gaddis’s reputation: Gaddis’s unique hybridity, his ability to “write in the gap between two dispensations—between science and literature, theory and narrative, and—different orders of linguistic imagination.
 
Gaddis (1922-1998) is often cited as the link between literary modernism and postmodernism in the United States. His novels—The Recognitions, JR, Carpenter’s Gothic, and A Frolic of His Own—are notable in the ways that they often restrict themselves to the language and communication systems of the worlds he portrays. Issues of corporate finance, the American legal system, economics, simulation and authenticity, bureaucracy, transportation, and mass communication permeate his narratives in subject, setting, and method. The essays address subjects as diverse as cybernetics theory, the law, media theory, race and class, music, and the perils and benefits of globalization. The collection also contains a memoir by Gaddis’s son, an unpublished interview with Gaddis from just after the publication of JR, and an essay on the Gaddis archive, newly opened at Washington University in St. Louis.
 
The editors acknowledge that we live in an age of heightened global awareness. But as these essays testify, few American writers have illuminated as poignantly or incisively just how much the systemic forces of capitalism and mass communication have impacted individual lives and identity—imparting global dimensions to private pursuits and desires—than William Gaddis.
 

That rush in between when it all comes undone. Knowing its edge like your own pulse and breathing. As I knew them this morning, racing a 10K in late-spring heat, the taste of panic in the last two miles as everything slipped away, losing time and barely finishing. A tingling in my limbs as if I were driving on ice, the road beneath me suddenly gone, the feeling of that in my hands. Deeper than words, being lost for a moment and then being done. Left with a pounding, stiff-legged stagger. Spiritual improvisations, radiant acts of attention: echoing Thoreau's Walden, the meditations of Guy Davenport, and Kenny Moore's groundbreaking articles for Sports Illustrated, Thomas Gardner strides through inner and outer landscapes. Freed by disciplined effort, the runner's mind here roams and mourns and remembers.

Amid a whirlwind of drugs, sex, and other temptations of the “English” world, a group of Amish teenagers on their Rumschpringe test the limits of their parents’ religion to the breaking point. The murder of one and the abduction of another challenge Professor Michael Branden as he confronts the communal fear that the young people can never be brought home safely.

Along with Holmes County Sheriff Bruce Robertson and Pastor Cal Troyer, Professor Branden works against the clock to find a murderer and a kidnapper, and to break a drug ring operating in the county, determined, wherever the trail may lead him, to restore the shattered community. In his desperate search, Branden struggles with the reluctance of the Amish to trust the law to help them find the answers to their problems.

In A Prayer for the Night, his fifth Ohio Amish Mystery, P. L. Gaus deftly balances the pace and practices of Amish life in northern Ohio against the unfolding urgency of a hostage situation. As Gaus has proven before, the mystery gains from its exploration of the ever-widening chasm between the traditional life of the Amish people and their interaction with the outside world.

The 1950s and 1960s were years of shifting values and social changes that did not sit well with many citizens of Richmond, Virginia, and in particular with one conservative family, a staunchly southern mother and father and their two daughters.  A powerful evocation of time and place, this memoir—a gifted poet's first book of prose—is the story of an inquisitive and sensitive young woman's coming of age and a deeply moving recounting of her reconciliation later in life with the family she left behind.

Returning us to a Cold War world marked by divisions of race, gender, wealth, and class, The Prodigal Daughter is an exploration of difference, the powerful wedge that separates individuals within a social milieu and within a family. Echoing the biblical Prodigal Son, Margaret Gibson's memoir is less concerned with the years of excess away from home than with the seeds of division sown in this family's early years.  Hers is the story of a mother proud to be a Lady, a Southerner, and a Christian; of two daughters trapped by their mother's power; and of their father's breakdown under social and family expectations.

Slow to rebel, young Margaret finally flees the world of manners and custom—which she deems poor substitutes for right thought and right action in the face of the Civil Rights movement and the Vietnam War—and abandons her fundamentalist upbringing.  In a defiant gesture that proves prophetic, she once signed a postcard home "The Prodigal."  After years of being the distant, absent daughter, she finds herself returning home to meet the needs of her stroke-crippled younger sister and her incapacitated parents.

In this tale of homecoming and forgiveness, death and dying, Gibson recounts how she overcame her long indifference to a sister she had thought different from herself, recognizing the strengths of the bonds that both hold us and set us free. Interweaving astute social observations on social pressures, race relations, sibling rivalry, adolescent angst, and more, The Prodigal Daughter is a startlingly honest portrayal of one family in one southern city and the story of all too many families across America.

In Paradise, Stephen Gibson's fourth poetry collection, we are taken on a journey through history and myth, wars past and present, public discoveries and private loss. As the reader confronts past horrors and present truths as well as the speaker's personal ones (an abused mother, a shellshocked father), it becomes apparent that the paradise sought-not in the hereafter but in the here and now-lies just beyond reach. It all ends, suggest these verses, with the understanding that behind everything we find nothing more divine than the human.

 
John Haines arrived in Alaska, fresh out of the Navy, in 1947, and established a homestead seventy miles southeast of Fairbanks. He stayed there nearly twenty-five years, learning to live off the country: hunting, trapping, fishing, gathering berries, and growing vegetables. Those years formed him as a writer—the interior of Alaska, and especially its boreal forest—marking his poetry and prose and helping him find his unique voice.
 
Placing John Haines, the first book-length study of his work, tells the story of those years, but also of his later, itinerant life, as his success as a writer led him to hold fellowships and teach at universities across the country. James Perrin Warren draws out the contradictions inherent in that biography—that this poet so indelibly associated with place, and authentic belonging, spent decades in motion—and also sets Haines’s work in the context of contemporaries like Robert Bly, Donald Hall, and his close friend Wendell Berry. The resulting portrait shows us a poet who was regularly reinventing himself, and thereby generating creative tension that fueled his unforgettable work. A major study of a sadly neglected master, Placing John Haines puts his achievement in compelling context.


 

Frederico García lived in Manhattan from 1929 to 1930, and the poetry he wrote about the city, Poet in New York, was posthumously published in 1940. Eighty years after Lorca’s sojourn to America, Nathalie Handal, a poet from New York, went to Spain to write Poet in Andalucía. Handal recreated Lorca’s journey in reverse.

In the opening story of Geary Hobson’s riveting new collection, Plain of Jars, a young private confides to his friend that he’s trying to leave the Marine Corps. “I am not doing this just because I find the Marine Corps too tough,” Warren Needham says, but because violence is contradictory to his faith. The story’s surprising climax, however, reveals a different side of Needham’s contradictory nature. It’s this acute understanding of conflict that characterizes Plain of Jars, a book populated by bullies, men in combat, abusive spouses, and Native Americans seeking a sense of personal identity in an environment where conformity is law. The U.S. Marine Corps sets the stage for a number of these stories, whose protagonists combat racism, post-traumatic stress syndrome, and the looming reality of the Vietnam War. With pitch perfect dialogue and a sense of the unexpected, Plain of Jars tests the depths of complex lives.

Charles Hood shows us a strange and perplexing world that runs on sadness, microbrews, snack cakes, and inexplicable magic. Brimming with natural history and bright flashes of language, his poems focus on transformations. He takes us from Paleolithic caves to modern movie theaters, and along the way we fix time machines with Tom Hanks, enter a Rousseau painting, and collect diamonds from the moons of Neptune.

The Palace of Bones by Allison Eir Jenks is an often stark and startling vision of the way we live, the places we inhabit, and the relics we make to comfort ourselves.

Haunted by a quiet, unquenchable longing, Jenks expertly and calmly guides the reader through a vivid dreamscape in this first full-length collection of poems.

The Palace of Bones was selected by final judge and Pulitzer Prize winner Carolyn Kizer. At once dark in its vision and light in its tone, this remarkable book is its author’s self-confident invitation for us to join her in a world she knows intimately and has made almost familiar if not entirely safe.

The Palace of Bones is a stunning debut.

Poetry in America offers extravagantly formed lyric and narrative poems that function like works of social realism for our times: hard times, wartime, divorce, times of downturn and dissipated resources. Where, in such times, can poetry emerge, the book asks—and answers—again and again. Largely set in rural places and small towns, these poems are politically committed but deeply sensuous, emotionally complex and compassionate. They take up the everyday in meaningful ways, and deliver it with blunt force, yet not without hope or bright humor.
 

The locales of these poems range from the mountains of western Pennsylvania to the Andes, the subjects from memories of Kilwein Guevara’s native Colombia to a New York street scene.  What characterizes all of them is precise and surprising language, a brilliance of effect, that establishes him as one of the most original young American poets.

In Penury, Myung Mi Kim probes sanctioned norms of cognition by breaking communication into its most discrete components. With these irruptions and suspensions, she writes into extremes of forced loss, violence, and impoverishment. Exposing latent relations in sound and sense, Kim proposes how new ethical awareness can be encountered where the word and its meaning/s are formed. Here, language is not offered as transparent communication of ideas, but as testament to and disruption of oppressive dominant concepts and cultural practices. "Penury" means poverty, but in this text's radical relation to lack, we hear the most elemental and active forms of change.

Part of our socialization is the urge-to-perform. We perform images of ourselves for others. If we are successful, we are called on to perform. For some, the urge is so great and the talent sufficient, that we become performers. Performance Art us a book about performers and performances which are extreme. Most of these stories and their performers and performances are at the edge of dream.

A New Collection of Poetry from the Editor of The Best American Poetry

Libby is a politician's daughter maturing amidst barely sublimated violence, sexuality, and corruption. Her tangled emotions about her father and the roil of sexual and social politics surrounding her are brought into relief when she receives a shocking anonymous letter. Horrified but fascinated, Libby works to discover the identity and the motivation of the sender while struggling to interpret the layers of deceit and manipulation enveloping her.

Having a baby to save a marriage—it’s the oldest of clichés. But what if the marriage at risk is a gay one, and having a baby involves a surrogate mother?
    Pat Faunce is a faltering romantic, a former poetry major who now writes textbooks. A decade into his relationship with Stu, an airline pilot from a fraught Jewish family, he fears he’s losing Stu to other men—and losing himself in their “no rules” arrangement. Yearning for a baby and a deeper commitment, he pressures Stu to move from Manhattan to Cape Cod, to the cottage where Pat spent boyhood summers.
    As they struggle to adjust to their new life, they enlist a surrogate: Debora, a charismatic Brazilian immigrant, married to Danny, an American carpenter. Gradually, Pat and Debora bond, drawn together by the logistics of getting pregnant and away from their spouses. Pat gets caught between loyalties—to Stu and his family, to Debora, to his own potent desires—and wonders: is he fit to be a father?
    In one of the first novels to explore the experience of gay men seeking a child through surrogacy, Michael Lowenthal writes passionately about marriages and mistakes, loyalty and betrayal, and about how our drive to create families can complicate the ones we already have. The Paternity Test is a provocative look at the new “family values.”

Paracritical Hinge is a collection of varied yet interrelated pieces highlighting Nathaniel Mackey’s multifaceted work as writer and critic. It embraces topics ranging from Walt Whitman’s interest in phrenology to the marginalization of African American experimental writing; from Kamau Brathwaite’s “calibanistic” language practices to Federico García Lorca’s flamenco aesthetic of duende and its continuing repercussions; from H. D.’s desert measure and coastal way of knowing to the altered spatial disposition of Miles Davis’s trumpet sound; from Robert Duncan’s serial poetics to diasporic syncretism; from the lyric poem’s present-day predicaments to gnosticism. Offering illuminating commentary on these and other artists including Amiri Baraka, Mississippi Fred McDowell, Wilson Harris, Jack Spicer, John Coltrane, Jay Wright, and Bob Kaufman, Paracritical Hinge also sheds light on Mackey’s own work as a poet, fiction writer, and editor.

Plays in Time collects four plays by Karen Malpede set during influential events from the late twentieth century to the present: the Bosnian war and rape camps; the invasion and occupation of Iraq and Israel’s 2006 bombardment of Lebanon; 9/11 and the US torture program; and the heroism of climate scientists facing attack from well-funded climate change deniers. In each play in this anthology, nature, poetry, ritual, and empathy are presented in contrast to the abuse of persons and world. Despite their serious topics, the plays are full of humor and distinctively entertaining personalities.
 
Each play was developed by Theater Three Collaborative for production in New York and internationally in Italy, Australia, London, Berlin, and Paris.
 

 

In 1936, a child is born in the mountains of West Virginia. In 2005, he scatters his past into a deep canyon of rock. The Pale Light of Sunset: Scattershots and Hallucinations in an Imagined Life illuminates the journey of this boy, a constant tourist and visitor, who travels everywhere, yet belongs nowhere. Through tales of swarming hornets and swinging bullies, love affairs with the land and its people, and near death by frostbite and heat stroke, the absurd hilarity and clear, tender voice found within this story navigates a surreal road paved by the experiences of one man.

 

Author of nationally acclaimed and locally banned novels Crum and Screaming with the Cannibals, Lee Maynard details an imaginative account of his journey through seventy years of hard living—from West Virginia, to Mexico, the Arctic Circle, and beyond. Scattered and hallucinated, The Pale Light of Sunset grants a long-awaited glimpse into the bent condition of the Maynard brain.

 

What was life like for the scientists working at Los Alamos? Thomas McMahon imagines this life through the wide eyes of young Tim MacLaurin, the thirteen-year-old son of an MIT physicist who, inspired by a young woman named Maryann, worked on the project. Filled with the sensuous excitement of scientific discovery and the outrageous behavior of people pushed beyond their limits, Principles of American Nuclear Chemistry is a beautifully written coming-of-age story that explores the mysterious connections between love and work, inspiration and history.

The Promise of Failure is part memoir of the writing life, part advice book, and part craft book; sometimes funny, sometimes wrenching, but always honest. McNally uses his own life as a blueprint for the writer’s daily struggles as well as the existential ones, tackling subjects such as when to quit and when to keep going, how to deal with depression, what risking something of yourself means, and ways to reenergize your writing through reinvention. 

What McNally illuminates is how rejection, in its best light, is another element of craft, a necessary stage to move the writer from one project to the next, and that it’s best to see rejection and failure on a life-long continuum so that you can see the interconnectedness between failure and success, rather than focusing on failure as a measure of self-worth. As brutally candid as McNally can sometimes be, The Promise of Failure is ultimately an inspiring book—never in a Pollyannaish self-help way. McNally approaches the reader as a sympathetic companion with cautionary tales to tell. Written by an author who has as many unpublished books under his belt as published ones, The Promise of Failure is as much for the newcomer as it is for the established writer. 

Playing From Memory is a deeply moving, compassionate novel about the power of marriage to survive under stress, a love story that tells of a musician's courageous battle against a degenerative illness and his wife's struggle to face the end of their life together.

Ben Seidler, an intense, passionately committed violist, is at the height of his career as a member of the Casa Bella Quartet, one of the foremost string quartets in the nation. His gifts as a concert artist had always been intuitive, but love did not come so easily. It took determination to win the hand of his wife, Dory, who was reluctant to set aside her ambitions of becoming an artist.

Their marriage is at once complex and ordinary, balancing the rigors of long rehearsal sessions against the daily round of family life with their two sons. Then suddenly the rhythm of their lives is shattered when Ben falls victim to multiple sclerosis. Stubbornly independent, Ben refuses to rely on others until necessity forces him to see that there are things beyond his control. Through a new closeness with his aging father, his older son, and, most importantly, Dory, he learns to accept help and to appreciate human frailty and affection.

As Ben's health declines, Dory is forced to resume her career and compete in a world dominated by men, and to re-examine her feelings and commitment to her husband. As their lives change, so does their marriage, and Ben and Dory forge a new kind of love, a fierce love that sustains them through everything.

Two decades into his career, Tom Limbeck, a New York City social worker, is leading an orderly, utterly prosaic life. He is, by self-description, “a poor man’s psychiatrist,” dedicated to helping his clients see things rationally, the better to confront the real world. He works in an office beset by budgetary difficulties and driven to solutions suited only to the bureaucracy. 

Tom’s life changes when he takes on the case of Michael, who is known as “Saint Francis of the Dumpster” for his peaceful disposition and practice of eating from garbage cans. Tom is at first haunted by, then obsessed with, this uncommunicative young man who holds a precious secret which causes him to risk his survival by living on the street. Tom is determined to discover and expose Michael’s secret (“his faith/his delusion”) as a necessary first step before any treatment can begin. Tom cannot reason his way out of his own obsession when he finds himself bending the rules, abandoning therapeutic norms and, before long, stalking his client. Parts of a World is a book about doubt—doubt, faith, and delusion. 

We first meet Lucy Appelbaum, the heroine of Paradise, New York, n 1970, when she is a nine year old girl enjoying her family's Catskills hotel, the Garden of Eden. Ten years later, having found nothing else at which she can distinguish herself, she  tries to save the Eden by capitalizing on a wave of nostalgia for the Borscht Belt, running the hotel as a sort of living museum of Yiddish culture.

In the course of that season, Lucy comes to realize her love for the hotel's black handyman, Mr. Jefferson -- and  the difficulties she faces in overcoming the barriers between them. She battles her grandmother's not-so-subtle attempts to sabotage her success, her parents' superstitious fear of anything that attracts attention to the Jews, and her brother's contention that what Lucy is doing is more a matter of ego than authentic religious feeling.

On top of all this, Lucy must contend with the Hasid who buys the chicken farm next door, a cell of ancient Jewish Communist who foment a strike among Eden's overworked young staff, and a gay chef and a gay baker who want to prove to the world that kosher cuisine can satisfy the most sophisticated gourmet.

Among the novel's characters are Shirley and Nat Feidel, who barely survived the Holocaust but refuse to allow bitterness to rule their lives; Mami Goshgarian, the Eden's tumeler; and Jimmy Kilcoin, and Irish Catholic insurance adjustor who has earned a reputation as "the Don Juan of the Catskills" and is determined to seduce Lucy before summer's end.

Pynchon's Poetics
  is a provocative, intelligent analysis of V., The Crying of Lot 49, Gravity's
  Rainbow, and Vineland. Hanjo Berrssem examines these works in the
  light of post-structuralist thought and literary theory, investigating the notion
  of subjectivity and the relations between the subject, culture, and language.
 

Pynchon’s California is the first book to examine Thomas Pynchon’s use of California as a setting in his novels. Throughout his 50-year career, Pynchon has regularly returned to the Golden State in his fiction. With the publication in 2009 of his third novel set there, the significance of California in Pynchon’s evolving fictional project becomes increasingly worthy of study. Scott McClintock and John Miller have gathered essays from leading and up-and-coming Pynchon scholars who explore this topic from a variety of critical perspectives, reflecting the diversity and eclecticism of Pynchon’s fiction and of the state that has served as his recurring muse from The Crying of Lot 49 (1965) through Inherent Vice (2009).

Contributors explore such topics as the relationship of the “California novels” to Pynchon’s more historical and encyclopedic works; the significance of California's beaches, deserts, forests, freeways, and  “hieroglyphic” suburban sprawl; the California-inspired noir tradition; and the surprising connections to be uncovered between drug use and realism, melodrama and real estate, private detection and the sacred. The authors bring insights to bear from an array of critical, social, and historical discourses, offering new ways of looking not only at Pynchon’s California novels, but at his entire oeuvre. They explore both how the history, geography, and culture of California have informed Pynchon’s work and how Pynchon’s ever-skeptical critical eye has been turned on the state that has been, in many ways, the flagship for postmodern American culture.
 
CONTRIBUTORS: Hanjo Berressem, Christopher Coffman, Stephen Hock, Margaret Lynd, Scott MacLeod, Scott McClintock, Bill Millard, John Miller, Henry Veggian 

1941 is a year of drama and spectacle for Americans. Joe DiMaggio’s record-breaking hitting streak enlivens the summer, and winter begins with the shock and horror of the Japanese attack on Pearl Harbor. The news from Eu­rope is bleak, especially for the Jewish population. Joltin’ Joe, possessing a sweet swing and range in center, also has another gift: he can see the future. And he sees dark times ahead.

​In her inventive novel The Powers, Valerie Sayers, in both realistic and fantastic chapters, transports the reader to an age filled with giants: Dorothy Day and Walker Ev­ans appear beside DiMaggio. The problems they face, from Catholic antisemitism to the challenge of pacifism in the face of overwhelming evil, play out in very public media, among them the photography of Evans and the baseball of DiMaggio. At once magical and familiar, The Powers is a story of witness and moral responsibility that will, like Joe DiMaggio, find some unlikely fans.