"Unlike many collections of original essays, this one is consistently fresh, coherent, and excellent. It reflects the combined scholarly excitement of ... the cultural history of the Civil War and the social history of Appalachia. As the editors point out in their introduction, this collection revises two false cliches - uniform Unionism in a region filled with cultural savages."

Clement Greenberg (1909–1994), champion of abstract expressionism and modernism—of Pollock, Miró, and Matisse—has been esteemed by many as the greatest art critic of the second half of the twentieth century, and possibly the greatest art critic of all time. On radio and in print, Greenberg was the voice of "the new American painting," and a central figure in the postwar cultural history of the United States.

Greenberg first established his reputation writing for the Partisan Review, which he joined as an editor in 1940. He became art critic for the Nation in 1942, and was associate editor of Commentary from 1945 until 1957. His seminal essay, "Avant-Garde and Kitsch" set the terms for the ongoing debate about the relationship of modern high art to popular culture. Though many of his ideas have been challenged, Greenberg has influenced generations of critics, historians, and artists, and he remains influential to this day.

Clement Greenberg (1909–1994), champion of abstract expressionism and modernism—of Pollock, Miró, and Matisse—has been esteemed by many as the greatest art critic of the second half of the twentieth century, and possibly the greatest art critic of all time. On radio and in print, Greenberg was the voice of "the new American painting," and a central figure in the postwar cultural history of the United States.

Clement Greenberg is widely recognized as the most influential and articulate champion of modernism during its American ascendency after World War II, the period largely covered by these highly acclaimed volumes of The Collected Essays and Criticism. Volume 3: Affirmations and Refusals presents Greenberg's writings from the period between 1950 and 1956, while Volume 4: Modernism with a Vengeance gathers essays and criticism of the years 1957 to 1969. The 120 works range from little-known pieces originally appearing Vogue and Harper's Bazaar to such celebrated essays as "The Plight of Our Culture" (1953), "Modernist Painting" (1960), and "Post Painterly Abstraction" (1964). Preserved in their original form, these writings allow readers to witness the development and direction of Greenberg's criticism, from his advocacy of abstract expressionism to his enthusiasm for color-field painting.

With the inclusion of critical exchanges between Greenberg and F. R. Leavis, Fairfield Porter, Thomas B. Hess, Herbert Read, Max Kozloff, and Robert Goldwater, these volumes are essential sources in the ongoing debate over modern art. For each volume, John O'Brian has furnished an introduction, a selected bibliography, and a brief summary of events that places the criticism in its artistic and historical context.

Clement Greenberg is widely recognized as the most influential and articulate champion of modernism during its American ascendency after World War II, the period largely covered by these highly acclaimed volumes of The Collected Essays and Criticism. Volume 3: Affirmations and Refusals presents Greenberg's writings from the period between 1950 and 1956, while Volume 4: Modernism with a Vengeance gathers essays and criticism of the years 1957 to 1969. The 120 works range from little-known pieces originally appearing Vogue and Harper's Bazaar to such celebrated essays as "The Plight of Our Culture" (1953), "Modernist Painting" (1960), and "Post Painterly Abstraction" (1964). Preserved in their original form, these writings allow readers to witness the development and direction of Greenberg's criticism, from his advocacy of abstract expressionism to his enthusiasm for color-field painting.

With the inclusion of critical exchanges between Greenberg and F. R. Leavis, Fairfield Porter, Thomas B. Hess, Herbert Read, Max Kozloff, and Robert Goldwater, these volumes are essential sources in the ongoing debate over modern art. For each volume, John O'Brian has furnished an introduction, a selected bibliography, and a brief summary of events that places the criticism in its artistic and historical context.

Michael Bommes (1954–2010) was one the most brilliant and original scholars of migration studies in the twentieth and twenty-first centuries. This posthumously published collection brings together a selection of his most important essays on immigration, transnationalism, irregular migration, and migrant networks.

“In Bommes, the academy lost a scholar with penetrating analyses of migration, the welfare state and social systems where the two interact. By completing his last project, Boswell and D’Amato have done scholarship a lasting service. A major contribution to public debate and a tribute to a very great man.”—Randall Hansen, University of Toronto

Guy and Laura Waterman spent a lifetime reflecting on and writing about the mountains of the Northeast. The Waterman Fund seeks to further their legacy of stewardship through an annual essay contest that celebrates and explores issues of wilderness, wildness, and humanity. Since 2008, the Waterman Fund has partnered with the journal Appalachia in seeking out new and emerging voices on these subjects, and in publishing the winning essay in the journal. Part of the contest’s mission is to find and support such emerging writers, and a number of them have gone on to publish other work in Appalachia or their own books. The contest has succeeded admirably in fulfilling its mission: new writers have brought fresh perspectives to these timeless issues of wilderness and wildness. In New Wilderness Voices these winning essays are collected for the first time, along with the best runners-up. Together, they make up an important and celebratory addition to the growing body of environmental literature, and shed new light on our wild spaces.

Concentrating on Weber's engagement with political issues and their influence over his more theoretical concepts, Mommsen offers a critical analysis of Weber's notion of democracy, distinguishing its liberal and elitist features.

Gregory Bateson was a philosopher, anthropologist, photographer, naturalist, and poet, as well as the husband and collaborator of Margaret Mead. With a new foreword by his daughter Mary Katherine Bateson, this classic anthology of his major work will continue to delight and inform generations of readers.

"This collection amounts to a retrospective exhibition of a working life. . . . Bateson has come to this position during a career that carried him not only into anthropology, for which he was first trained, but into psychiatry, genetics, and communication theory. . . . He . . . examines the nature of the mind, seeing it not as a nebulous something, somehow lodged somewhere in the body of each man, but as a network of interactions relating the individual with his society and his species and with the universe at large."—D. W. Harding, New York Review of Books

"[Bateson's] view of the world, of science, of culture, and of man is vast and challenging. His efforts at synthesis are tantalizingly and cryptically suggestive. . . .This is a book we should all read and ponder."—Roger Keesing, American Anthropologist