“Insightful tour de force… Farrell’s writing is as informative as it is intoxicating”  -- Publishers Weekly

Shanna Farrell loves a good drink. As a bartender, she not only poured spirits, but learned their stories—who made them and how. Living in San Francisco, surrounded by farm-to-table restaurants and high-end bars, she wondered why the eco-consciousness devoted to food didn’t extend to drinks.   

The short answer is that we don’t think of spirits as food. But whether it's rum, brandy, whiskey, or tequila, drinks are distilled from the same crops that end up on our tables. Most are grown with chemicals that cause pesticide resistance and pollute waterways, and distilling itself requires huge volumes of water. Even bars are notorious for generating mountains of trash. The good news is that while the good drink movement is far behind the good food movement, it is emerging.
 
In A Good Drink, Farrell goes in search of the bars, distillers, and farmers who are driving a transformation to sustainable spirits. She meets mezcaleros in Guadalajara who are working to preserve traditional ways of producing mezcal, for the health of the local land, the wallets of the local farmers, and the culture of the community. She visits distillers in South Carolina who are bringing a rare variety of corn back from near extinction to make one of the most sought-after bourbons in the world. She meets a London bar owner who has eliminated individual bottles and ice, acculturating drinkers to a new definition of luxury.
 
These individuals are part of a growing trend to recognize spirits for what they are—part of our food system. For readers who have ever wondered who grew the pears that went into their brandy or why their cocktail is an unnatural shade of red, A Good Drink will be an eye-opening tour of the spirits industry. For anyone who cares about the future of the planet, it offers a hopeful vision of change, one pour at a time.

Border fixity—the proscription of foreign conquest and the annexation of homeland territory—has, since World War II, become a powerful norm in world politics. This development has been said to increase stability and peace in international relations. Yet, in a world in which it is unacceptable to challenge international borders by force, sociopolitically weak states remain a significant source of widespread conflict, war, and instability.

In this book, Boaz Atzili argues that the process of state building has long been influenced by external territorial pressures and competition, with the absence of border fixity contributing to the evolution of strong states—and its presence to the survival of weak ones. What results from this norm, he argues, are conditions that make internal conflict and the spillover of interstate war more likely. Using a comparison of historical and contemporary case studies, Atzili sheds light on the relationship between state weakness and conflict. His argument that under some circumstances an international norm that was established to preserve the peace may actually create conditions that are ripe for war is sure to generate debate and shed light on the dynamics of continuing conflict in the twenty-first century.

". . . a smart, sprightly, sex-drenched, and neatly plotted novel . . ."
---Alan Cheuse, National Public Radio and the Chicago Tribune

"Spark is at her sly, funny, and cutting best in her third novel, a clever and affecting variation on the biblical story of Esther."
---Booklist

"Spark's prose is tight, funny, insightful and occasionally heartbreaking as it probes the current education system, the arts and society's ills."
---Publishers Weekly

Good for the Jews is a smart, funny, sexy novel set in Madison, Wisconsin, during the Bush administration. Part mystery and part stranger-comes-to town story, Good for the Jews is loosely based on the biblical book of Esther. Like Esther, Debra Spark's characters deal with anti-Semitism and the way that powerful men---and the women who love them---negotiate bureaucracies.

At the core of the story of right and wrong are young, attractive Ellen Hirschorn and her older cousin Mose, a high school teacher who thinks he knows, in fact, what is "good for the Jews"---and for Ellen, too. Their stories intertwine with those of the school superintendent, his ex-wife and son, and a new principal. Workplace treachery, the bonds of family, coming of age, and romantic relationships all take center stage as the characters negotiate the fallout from a puzzling fire.

Spark's evocative writing style and sharp, understanding treatment of her diverse characters draw the reader into this surprising page-turner, a finalist for the 2009 ForeWord Magazine Book of the Year Award.

Debra Spark is the author of two previous novels, The Ghost of Bridgetown and Coconuts for the Saint, as well as Curious Attractions: Essays on Fiction Writing. She's been a fellow at Radcliffe College's Bunting Institute and a recipient of a National Endowment for the Arts award. Her short stories, essays, and reviews have appeared in publications including Food and Wine, Esquire, the New York Times, the Washington Post, and Yankee. She is a professor at Colby College and teaches in the MFA Program for Writers at Warren Wilson College. She lives with her husband and son in North Yarmouth, Maine.

“[Tuan] explores answers to an old and unanswerable question: how should we live? . . . The Good Life is a little anthology of good feeling, touchstones of joy . . . These pleasures make the book a pleasure, not of conviction or belief, but of conversation’s meandering exploration.”—New York Times Book Review

“Tuan, after all, is one of the few geographers who can be read for pleasure, and by the public as well as by the professional. But read not merely for pleasure, nor yet to mark, learn, and inwardly digest. Rather, consider Tuan’s challenge to identify your concept of the good life, and then try to construct that life.”—Environment and Planning D: Society and Space

Amid the unrest, dislocation, and uncertainty of seventeenth-century Europe, readers seeking consolation and assurance turned to philosophical and scientific books that offered ways of conquering fears and training the mind—guidance for living a good life.

The Good Life in the Scientific Revolution presents a triptych showing how three key early modern scientists, René Descartes, Blaise Pascal, and Gottfried Leibniz, envisioned their new work as useful for cultivating virtue and for pursuing a good life. Their scientific and philosophical innovations stemmed in part from their understanding of mathematics and science as cognitive and spiritual exercises that could create a truer mental and spiritual nobility.  In portraying the rich contexts surrounding Descartes’ geometry, Pascal’s arithmetical triangle, and Leibniz’s calculus, Matthew L. Jones argues that this drive for moral therapeutics guided important developments of early modern philosophy and the Scientific Revolution.

In Alberto Álvaro Ríos’s new picaresque novel, momentous adventure and quiet connection brings twenty people to life in a small town in northern Mexico. A Good Map of All Things is home to characters whose lives are interwoven but whose stories are their own, adding warmth and humor to this continually surprising communal narrative. The stories take place in the mid-twentieth century, in the high desert near the border—a stretch of land generally referred to as the Pimería Alta—an ancient passage through the desert that connected the territory of Tucson in the north and Guaymas and Hermosillo in the south. The United States is off in the distance, a little difficult to see, and, in the middle of the century, not the only thing to think about. Mexico City is somewhere to the south, but nobody can say where and nobody has ever seen it.

Ríos has created a whimsical yet familiar town, where brightly unique characters love fiercely and nurture those around them. The people in A Good Map of All Things have secrets and fears, successes and happiness, winters and summers. They are people who do not make the news, but who are living their lives for the long haul, without lotteries or easy answers or particular luck. Theirs is the everyday, with its small but meaningful joy. Whether your heart belongs to a small town in Mexico or a bustling metropolis, Alberto Álvaro Ríos has crafted a book that is overflowing with comfort, warmth, and the familiar embrace of a tightly woven community.

No modern president has had as much influence on American national politics as Franklin D. Roosevelt. During FDR’s administration, power shifted from states and localities to the federal government; within the federal government it shifted from Congress to the president; and internationally, it moved from Europe to the United States. All of these changes required significant effort on the part of the president, who triumphed over fierce opposition and succeeded in remaking the American political system in ways that continue to shape our politics today. Using the metaphor of the good neighbor, Mary E. Stuckey examines the persuasive work that took place to authorize these changes. Through the metaphor, FDR’s administration can be better understood: his emphasis on communal values; the importance of national mobilization in domestic as well as foreign affairs in defense of those values; his use of what he considered a particularly democratic approach to public communication; his treatment of friends and his delineation of enemies; and finally, the ways in which he used this rhetoric to broaden his neighborhood from the limits of the United States to encompass the entire world, laying the groundwork for American ideological dominance in the post–World War II era.

Winner of the Ohioana Library’s 2008 Ohio Legacy Citation
2014-2015 Choose to Read Ohio selection

“A good place to be from.” That’s how some people might characterize the Buckeye State. The writings in Good Roots: Writers Reflect on Growing Up in Ohio, are testimony to the truth of that statement. By prominent writers such as P. J. O’Rourke, Susan Orlean, and Alix Kates Shulman, these contributions are alternately nostalgic, irreverent, and sincere, and offer us a personal sense of place. Their childhoods are as varied as their work. Some were raised in urban Cleveland, Akron, and Cincinnati, others in the small Ohio towns that typify the Midwest, and still others in the countryside. Yet what they have to tell us about their roots resonates with a shared heritage, a sense of what is universal and enduring about growing up in the heartland.

Their collective résumé reads like a literary Who’s Who, including four Pulitzer Prizes, several National Book Awards, and many prestigious fellowships. Good Roots is also plain good reading from some of our country’s most accomplished contemporary writers.

Contributors include: Jill Bialosky, Dan Cryer, Michael Dirda, Elizabeth Dodd, Anthony Doerr, Rita Dove, Ian Frazier, Dale Keiger, Andrea Louie, Kathleen Dean Moore, Mary Oliver, Susan Orlean, P. J. O’Rourke, Julie Salamon, Scott Russell Sanders, Alix Kates Shulman, Jeffery Smith, James Toedtman, and Mark Winegardner.

In this food memoir, named for the manoomin or wild rice that also gives the Menominee tribe its name, tribal member Thomas Pecore Weso takes readers on a cook’s journey through Wisconsin’s northern woods. He connects each food—beaver, trout, blackberry, wild rice, maple sugar, partridge—with colorful individuals who taught him Indigenous values. Cooks will learn from his authentic recipes. Amateur and professional historians will appreciate firsthand stories about reservation life during the mid-twentieth century, when many elders, fluent in the Algonquian language, practiced the old ways.

Weso’s grandfather Moon was considered a medicine man, and his morning prayers were the foundation for all the day’s meals. Weso’s grandmother Jennie "made fire" each morning in a wood-burning stove, and oversaw huge breakfasts of wild game, fish, and fruit pies. As Weso grew up, his uncles taught him to hunt bear, deer, squirrels, raccoons, and even skunks for the daily larder. He remembers foods served at the Menominee fair and the excitement of "sugar bush," maple sugar gatherings that included dances as well as hard work.

Weso uses humor to tell his own story as a boy learning to thrive in a land of icy winters and summer swamps. With his rare perspective as a Native anthropologist and artist, he tells a poignant personal story in this unique book.

In essays that combine memoir with biography of place, Kevin Holdsworth creates a public history of the land he calls home: Good Water, Utah. The high desert of south-central Utah is at the heart of the stories he tells here—about the people, the “survivors and casualties” of the small, remote town—and is at the heart of his own story.

Holdsworth also explores history at a personal level: how Native American history is preserved by local park officials; how Mormon settlers adapted to remote, rugged places; how small communities attract and retain those less likely to thrive closer to population centers; and how he became involved in local politics. He confronts the issues of land use and misuse in the West, from the lack of water to greed and corruption over natural resources, but also considers life’s simple pleasures like the value of scenery and the importance of occasionally tossing a horseshoe.

Good Water’s depiction of modern-day Utah and exploration of friendships and bonding on the Western landscape will fascinate and entice readers in the West and beyond.

Despite the proliferation of criticism on the cultural work of the Harlem Renaissance over the course of the past two decades, surprisingly few critics have focused on the ways in which religious contexts shaped the works of New Negro writers and artists during that time. In Goodbye Christ? Christianity, Masculinity, and the New Negro Renaissance, Peter Kerry Powers fills this scholarly void, exploring how the intersection of race, religion, and gender during the Harlem Renaissance impacted the rhetoric and imagination of prominent African American writers of the early twentieth century.

In order to best understand the secular academic thought that arose during the Harlem Renaissance period, Powers argues, readers must first understand the religious contexts from which it grew. By illustrating how religion informed the New Negro movement, and through his analysis of a range of texts, Powers delineates the ways in which New Negro writers of the early twentieth century sought to loosen the grip of Christianity on the racial imagination, thereby clearing a space for their own cultural work—and for the development of a secular African American intelligentsia generally.

In addition to his examination of well-known authors, including W. E. B. Du Bois, Langston Hughes, and Zora Neale Hurston, Powers also offers an illuminating perspective on lesser-known figures, including Reverdy Ransom and Frederick Cullen. In his exploration of the role of race and religion at the time, Powers employs an intersectional approach to religion and gender, and especially masculinity, that sets the discussion on fertile new ground.

Goodbye Christ? answers the call for a body of work that considers religion as a relevant precursor to the secular intelligentsia that grew during the Harlem Renaissance in the early 1900s. By offering a complete look at the tensions that arose between churches and Harlem Renaissance writers and artists, readers can gain a better understanding of the work that Harlem Renaissance writers undertook during the early decades of the twentieth century.

Montserrat Roig’s first novel, Goodbye, Ramona (1972), is a powerhouse story told through the points of view of three generations of women from the same family. Opening with scenes of a pregnant woman looking for her husband after the bombing of Barcelona’s Coliseum, Goodbye, Ramona explores the role of family, women’s relationships with men, the influence the weight of history and events out of women’s control have on them, and the silence in which women live their lives. Sweeping and dynamic, the historical and social mosaic of late nineteenth- and early twentieth-century Spain is seen through the lives and experiences of these female characters.

Good-bye, Son and Other Stories, Janet Lewis’s only collection of short fiction, was first published in 1946, but remains as quietly haunting today as it was then. Set in small communities of the upper Midwest and northern California in the ’30s and ’40s, these midcentury gems focus on the quiet cycles connecting youth and age, despair and hope, life and death. A mother’s encounters with her deceased son, an aging woman sitting with the new knowledge of her troubled older sister’s death, and a teenager disillusioned by her own mortality are among the characters, mostly women and girls, whom Lewis delivers. Her understated style and knack for unadorned observation embed us with them as they reckon with the disquieting forces—incomprehensible and destructive to some, enlightening to others—that move us from birth, through life, to death. In the process, Lewis has crafted a paean to the living.

Have you ever wondered what really goes on at your child’s day-care center after you say good-bye? Harriet Brown did. To satisfy her curiosity, she spent an entire year observing Red Caboose, a center in Madison, Wisconsin. This engaging and thought-provoking book is the story of that year.
    In her beautifully written personal account, journalist and mother Brown takes us behind the scenes at a day-care center that works. At Red Caboose, one of the oldest independent centers in the country, we meet teachers who have worked with young children for more than twenty years. We watch the child-care union and parents struggle to negotiate a contract without ripping apart the fabric of trust and love that holds the Red Caboose community together.
    We look at the center’s finances, to see what keeps Red Caboose going at a time when other good centers are disappearing. Best of all, we get to know the children, families, and teachers of Red Caboose—their struggles, their sorrows, their triumphs.
    Started twenty-five years ago by a group of idealistic parents, the center has not only survived but thrived through some pretty tough times. In the world of day care, Red Caboose is a special place, a model for what child care in this country could and should be: not just babysitting, not just a service to working parents, but a benefit for children, families, teachers, and the community at large.
    Brown sets her rich and engaging stories in the greater political and social context of our time. Why is so much child care bad? Why should working Americans worry about the link between welfare reform and child care? What can we learn from the history of child care?
    This book is a must-read for parents, educators, and anyone who enjoys first-rate writing and dead-on insight into the lives of our youngest children and those who care for them.

“[Brown’s] writing is beautiful and her scholarship sound. Students considering day-care careers, day-care professionals, and concerned parents will gain insight by reading this provocative book, as will anyone who cares about the future of young children in this country.”—Choice

“I admire enormously the ambition of this book—its eagle-eyed witness and engrossing detail, plus the social importance of the project. I wish there were in the world more books like it.”—Lorrie Moore, author of Who Will Run the Frog Hospital?

“The Good-bye Window is a fascinating peek into the secret world of children. With the poignancy of Anne LaMott, and the reportorial grace of Tracy Kidder, Harriet Brown has written a terrific and worthwhile book.”—Meg Wolitzer, author of This Is Your Life

“Harriet Brown’s well-told story of the Red Caboose child-care center should be read by teachers and parents, but also by every legislator and politician in the land. Only a writer as good as Ms. Brown could display the dramatic complexities of a school community in which the youngest members enter crawling and emerge a few years later as articulate, empathetic, and well-socialized individuals, ready for the ‘real world.’”—Vivian Gussin Paley, author of The Boy Who Would Be a Helicopter

 

A foundational statement of the democratic promise of ecofeminism.

Heroic mothers defending home and hearth against a nature deformed by multinationalist corporate practice: this may be a compelling story, but it is not necessarily the source of valid feminist or ecological critique. What’s missing is the democratic element, an insistence on bringing to public debate all the relations of gender and nature that such a view takes for granted. This book aims to situate a commitment to theory and politics—that is, to democratic practice—at the center of ecofeminism and, thus, to move toward an ecofeminism that is truly both feminist and ecological.

Goshen Road is an elegiac, unvarnished, and empathetic portrait of one working-class family over two decades in rural West Virginia, with sisters Dessie and Billie Price as its urgently beating heart. Bonnie Proudfoot captures them, their husbands, and their children as they balance on the divide between Appalachia old and new, struggling for survival and reconciling themselves with past hurts and future uncertainties as the economy and culture shift around them.

The story opens in 1967 with a logging accident and the teenaged Lux Cranfield’s headlong plunge into the courtship of Dessie—a leap he takes not only in the wake of his near-death experience but to exchange his bitter home life for a future with the Prices, a family that appears to have the stability and peace that his own lacks. Within the year Lux and Dessie marry. Meanwhile, Dessie’s rebellious younger sister, Billie, fights her way through adolescence with an eye toward an escape of her own, only to land with Lux’s friend Alan Ray Munn and settle into a life of hardship. Ultimately, the voices and passions of Dessie, Billie, Lux, Alan Ray, and the Cranfield children build on one another to create an unforgettable chorus about the promises and betrayals of love—and what it takes to preserve a family when everything else is uncertain.

This collection of five award-winning plays by Charles Smith includes Jelly Belly, Free Man of Color, Pudd’nhead Wilson, Knock Me a Kiss, and The Gospel According to James. Powerful, provocative, and entertaining, these plays have been produced by professional theater companies across the country and abroad. Four of the plays are based on historical people and events from W.E.B. Du Bois and Countee Cullen to the Harlem Renaissance. Accurate in the way they capture the political and cultural milieu of their historical settings, and courageous in the way they grapple with difficult questions such as race, education, religion, and social class, these plays jump off the page just as powerfully as they come to life on stage. This first-ever collection from one of the nation’s leading African American playwrights is a journey down the complex road of race and history.