The Water Cries represents an ambitious search for the location of the slave auction houses in one of America's most storied cities. The author plumbs historical documentation, sifting historical advertisements and archiving familial connections.

The book is a history told by grandmothers and grandfathers.It addresses a history previously told under a different light or never told at all. These are the tales of an heir of the previously enslaved, tales of images seen and unseen, the voices of the mystical. The Water Cries represents a contribution to the telling of the long-ignored truths of Galveston's central role

in the untenable trade of human souls, slavery.

The book is divided into three sections: before Emancipation (1840-1865); after Emancipation (1865-1940); and concrete suggestions for Galveston moving forward. This latter section involves giving faces and names to the voices we hear, the creation of a historical district, and the borrowing of other communities' progress.

The Water Cries is a contribution to the rest of us also, particularly as we continue to grapple with what W. E. B. Du Bois described as America's unique problem, the color line.

On New Year's Day in 1954, the underdog Texas Tech Red Raiders trounced Auburn, persistent pride of the SEC, in the Gator Bowl. The score was 35-13, and it would be almost twenty years before Tech would win another bowl game. But the important 1954 game also established a much deeper tradition of excellence, one that has never suffered the ups and downs of collegiate sports. On that January 1, the Red Raiders were led onto the field by Joe Kirk Fulton. Donning a mask and wearing custom chaps, Fulton charged onto the field on horseback, leading the team and thereby establishing the Masked Rider, a mascot and public figure whose role continues to this day.

The Masked Rider is a quintessential piece of Texas Tech history. There have been sixty Masked Riders, most of them agricultural studies students, most of them from rural Texas. During their one-year term, each Masked Rider makes around 350 public appearances and travels 15,000 miles. They are one of the most visible figures in the university. The story of the program branches into individual narratives of unlikely college students who were the first in their families to attend a university, bringing with them ranching experience that uniquely qualified them to serve Texas Tech.

Fazlur Rahman's mother died tragically when he was only seven years old, but her words reverberated throughout his life: Someday you will be a doctor, Fazlur, and save lives. Eventually, he fled his war-torn homeland and, after years of training in New York and Houston, became a cancer doctor. He could never have imagined that his medical career would unfold in remote West Texas and that he would be a pioneer oncologist for a vast region.

Over a 35-year career, Rahman poured himself into not just taking care of his patients' challenging medical needs but learning from them and getting to know their lives, their families, and the circumstances that made each patient unique.

He narrates the instructive stories of five cancer patients: surviving against all odds; walking a long path with cancer and negotiating the steps of every day; bearing the crushing burdens of the exorbitant costs of cancer drugs, sometimes dictating a decision either to save one's own life or leaving enough for the family to live on; navigating the vagaries of old age and coping with malignancy; and patients' desire for dignity, a self-respect that we all want, rich or poor.

These compassionate tales are a blend of storytelling, cancer science, and Rahman's personal reflections and struggles in making medical decisions that treat a patient as a whole person, not just as a person with a disease.

I've been there before
And I'll try it again
But any fool knows
That there's no way to win

Those lyrics have been sung by Ray Charles, Norah Jones, Nancy Sinatra, Dean Martin, and George Strait; even Willie Nelson and Wynton Marsalis have performed an arrangement of Here We Go Again.

This legendary song, and a host of other hits, were written by Russell Don Red Steagall. He has released twenty-three albums. He has performed for President Reagan and other heads of state and has made three tours to the Middle East, East Asia, Europe, Australia, and South America. This is in addition to his dabbling in acting and hosting radio and TV programs.

Now a bona fide global star, Red was raised in a small oil field town in the Texas Panhandle. Both before and after wrangling with polio at age 15, he was a fan of rodeo and bull riding. Music was his rehabilitation therapy.

This is a story of how Western culture permeated twentieth-century America. In 1985, when country music changed, Red changed too. He began writing cowboy poetry and cowboy songs, with his music emphasizing the Western lifestyle that he loves. As a producer, as a host, as a broadcaster, and as a multihyphenate award-winning artist, he never forgot his roots and he never failed to bring the West to everyone he encountered.

An abandoned place, a disheveled person, a shabby or deteriorating state: we describe such ruin colloquially as going to seed.

But gardeners will protest: going to seed as idle? No, plants are sending out compressed packets filled with the energy needed to sow new life. A pause from flowering gives a chance for the seeds to form.

In a time of urgent environmental change, of pressing social injustice, and of ever-advancing technologies and global connections, we often respond with acceleration--a speeding up and scaling up of our strategies to counter the damage and destruction around us.

But what if we take the seeds as a starting point: what might we learn about work, sustainability, and relationships on this beleaguered planet if we slowed down, stepped back, and held off?

Going to Seed explores questions of idleness, considering the labour both of humans and of the myriad other inhabitants of the world. Drawing on science, literature, poetry, and personal observation, these winding and sometimes playful essays pay attention to the exertions and activities of the other-than-human lives that are usually excluded from our built and settled spaces, asking whose work and what kinds of work might be needed for a more just future for all.

In 1919 there were just 6.7 million cars in America. There was no interstate system. The national park system was thirty-seven years young.

In this fledgling environment for long-distance travel, H. A. Spallholz and family set out from Salem, New York, to see America's national parks. In his 1917 Haynes Roadster, Henry packed his family and a camera and headed west. From storied New England through Great Plains grasslands, up the Rocky Mountains and down the west coast, this book documents firsthand what America looked like from very early highways and byways.

Collected here into a book for the first time, the Spallholz photographs are a fascinating picturesque time capsule of early twentieth century America. See its cities and monuments. See Yellowstone Park pristine and wild. See the dirt and muddy roads that connected our states and metropolises and the tremendous challenges that came with traversing them. See a young family energized and beleaguered by the length of the journey: 10,400 miles.

These family photographs were lost for a generation before they were uncovered by Art Vaughan, a hobbyist photographer who was stationed in Portland, Maine, with the Coast Guard. He found the glass slides and original lantern slide projector in a Salvation Army shop. Years later, when he posted some of the photographs online, the Spallholz descendants recognized their grandfather's photographs and contacted Mr. Vaughan. This serendipitous story, some fifty years in the making, is documented herein.

This book provides a unique view across generations of American travelers and belongs on the coffee table of anyone who loves photography, American history, and the great outdoors.

In today's cultural and political climate of relative LGBTQ+ inclusion, Settler Tenses: Queer Time and Literatures of the American West provides a literary history that rewrites our understanding of when and how queerness began to align with US nationalism and settler colonialism, tracing the discursive production of masculinities in late nineteenth and early twentieth-century literatures of the American West.

Current scholarly understandings often equate turn-of-the-century representations of the US frontier with hypermasculinity and heteronormativity. Simultaneously, scholars tend to view queer inclusion--that is, the civil and political inclusion of those who make up the -Q+ of the initialism LGBTQ+--as a phenomenon of post-Civil Rights era activism. Settler Tenses provides a deeper history of queerness in US history by showing that literature created frontier masculinities that representationally yoked a range of queer bodies and subjectivities to national identity as the US consolidated its sovereignty in the late nineteenth and early twentieth centuries.

Reframing and explaining anew the provenance and significance of the links between queerness and US nationalism and settler colonialism, Settler Tenses will appeal to an audience of advanced undergraduates as well as researchers and scholars in American literary studies, gender, queer, and sexuality studies, settler colonial studies, and critical race and ethnic studies.

A mother is a myth, a figure, a body. Through a series of essays spanning the political to the personal, Lucky Bodies reckons with motherhood. Marianne Jay Erhardt's striking debut takes inventory of what we demand and withhold from mothers, and what counts as care.

Plucking stars from the constellation of stories that have shaped her own emergence as a mother, she explores fables, family, religion, fairy tales, television, mythology, and games, all with exceptional wit and empathy. Erhardt considers the nature of care alongside Peter Pan, Where the Wild Things Are, and Little House on the Prairie. She reassembles memory with Busby Berkely chorus girls, 90's TV commercials, and a mid-Atlantic hurricane. She grieves her father's death and the wreckage of war through Aesop and discovers how little the Mother of God says out loud in The Bible. She reimagines Red Riding Hood's wolf, reflects on faith with Bigfoot and repurposes a Covid wellness survey to take stock of our collective isolation, asking readers, How alone are you?

Throughout Lucky Bodies, Erhardt establishes herself as a memoiric cultural critic, imagining how we might make and inhabit stories that cultivate an ethic of care.

Utilizing local analysis to make global conclusions, Drama Under the Skin uses ritual as a lens to examine race and identity formation of both free and enslaved people of African descent and Indigenous groups in northern New Spain. Juana Moriel-Payne proposes that Baroque-Catholic ideology, as social culture, incited and promoted the participation of those peoples in religious rituals.

Through their involvement in fiestas, cofradías, and capellanías, those groups were able to create and/or recreate socio-cultural identities, while transforming and adapting global Catholic practices and beliefs according to their local realities. Intersecting with research about Latin America, Mexico, the African Diaspora, and Borderlands history, Drama Under the Skin charts the impact of global ideas about slavery, race/casta, and identity in areas where people of African descent have not yet received enough historiographical attention.

Heretofore the historiography of northern New Spain has perpetuated an image of an Indigenous-barbarian north under control of the Spaniards. Almost nothing has been said about the active participation of people of African descent, Indigenous groups, and women in cultural affairs.

Moriel-Payne highlights the African Diaspora's resistance mechanisms, analyzes the complex dynamics between Indigenous and African groups in cultural-religious activities, and examines the impact on gender, race, and identity formation.

The title of this debut collection, Nothing Follows, is reappropriated from a government document
establishing the beginning of a refugee family's time in the United States. At
every coordinate of their lives, the refugee family provides affidavits,
letters, and reams of paperwork as they work to beseech those in power to grant
them family reunification visas for those they had to leave behind in 1975
after the fall of Saigon.

Nothing Follows
draws from the genres of memoir and poetry. Written from a young girl's
perspective, the center of this world is a military father, an absent mother,
sisters who come and go, broken brothers, and friends she meets in San José.

With each place the book travels through--from Butler,
Pennsylvania, to San José, California--we see that racism, objectification, and
sexual violence permeate the realities of the narrator and those close to her.
In marking the journey, Lan Duong recreates the portraits of the girl's friends
and family and maps out refugee girlhoods.

Spiked with violence, pleasure, and longing,
these refuges are questionable sanctuaries for those refugee girls who have
grown up during the 1980s in the aftermath of war.

Ibe Liebenberg's first book-length collection of poetry, Birds at Night, explores themes of loss, trauma, PTSD, indigeneity, and familial relationships.

These brief, intense poems amplify the sensations and silences of interior moments of crisis and catharsis. A haunting meditation on what keeps us up at night, Liebenberg invites the reader to contend with their own responses to exigent circumstances.

Drawing on the resiliency of the natural world in the face of changing climate, birds, wolves, and fire populate the stanzas. Migration and adaptation are the poetic subjects, but they are also the embodied language of each taut line.

In whatever tongue they sing, Birds at Night captures the need for empathy and understanding for the natural world.

If clothes make the man, who makes the clothes--and the trends they inspire? Fashion historian Daniel Delis Hill takes readers on a fascinatingly detailed tour of America's changing sartorial landscape, tracing menswear from the tailors and slop shops of the early nineteenth century to Calvins, tattoos, and the Armani tux. Each chronological section covers the full range of men's clothing by category, including suits and evening wear, outerwear, sportswear, accessories, sleepwear, swimwear, underwear, and grooming. Documenting the panorama of men's dress with 650 illustrations (many never before gathered in book form), Hill describes the social developments that contributed to and sprang from changing styles of masculine clothing. Additionally, he demonstrates how technological innovations as small as the inch measuring tape or as sweeping as the treadle sewing machine revolutionized the manufacture of menswear, and how mass production, distribution, and marketing democratized men's fashion. Examining evolving ideas and ideals of masculinity across two centuries of American history, Hill thoughtfully considers the societal implications of men's choices in dress. American Menswear contributes a much-needed resource to the fields of costume history, fashion design and merchandising, men's studies, advertising and marketing history, popular culture, and American history--as well as a treat for the casual reader and an eye-catching addition to any art reference library.

Of the canyons that break the eastern edge of the Staked Plains, Palo Duro is by far the most spectacular. As one approaches the edge, the earth opens up into a vast gash, a geological and ecological wonder. And whether you come to Palo Duro as a novice or veteran canyoneer, the thrill and the mystery are always intense. How did the canyon get here? What caused the vari-color of the walls and formations? Why do some formations stand completely separated from the canyon walls? Did the little stream running along the canyon floor form this canyon all by itself? Who were the first people to find this canyon and how did they react? On this last question imagination goes to work and contemplates what ancient people must have felt when they, even less aware than we, stumbled upon the chasm rim and quickly realized that they had found a bonanza, an immense concentration of water, wood, game, and protection--all they needed to sustain life.--Frederick W. Rathjen Originally published as an edition of the Panhandle Plains Historical Review, The Story of Palo Duro Canyon, with its seven essays devoted to geology, archeology, paleontology, vegetation, park development, and the amphitheater, and its road log from Canyon, Texas, through the Palo Duro State Park, has become a classic. This Double Mountain Books edition, with a new introduction by Frederick W. Rathjen, makes 04 Activeable once again a comprehensive discovery and invaluable memento for the many thousands who visit the park each year.

The conflict in Vietnam has been rewritten and reframed
into many corners of American life and has long shadowed contemporary political
science and foreign policy. The war and its aftermath have engendered
award-winning films and books. It has held up a mirror to the twentieth century
and to the wars of the twenty-first.

Set in wartime Vietnam and contemporary Vietnam, in
wartime America and in America today, the stories that comprise Memorial Days were written from 1973 to
the present. As our continuing reappraisals of the war's shadow have unspooled
over the last half-decade, so too has Wayne Karlin returned to the subject in
his fiction, collected and published together here for the first time.

A girl in Maryland runs away from Civil War reenactors
she imagines to be American soldiers in Vietnam, while a woman in Vietnam hides
in the jungle from an American helicopter and another tries to bury the relics
of the war. A man mourns a friend lost in Iraq while a helicopter crewman in
Quang Tri loads the broken and dead into his aircraft. Extras playing soldiers
in a war film in present-day Vietnam model themselves after other war films
while a Marine in a war sees himself as a movie character. A snake coiled
around the collective control of a helicopter in Vietnam uncoils in a soldier
come home from Iraq. The chronology is the chronology of dreams or nightmares
or triggered flashbacks: images and incidents triggering other images and
incidents in a sequence that seems to make no sense--which is exactly the sense
it makes.

Some stories burn with the fresh experiences of a Marine witnessing
war firsthand. Some stories radiate a long-abiding grief. All the stories
reflect and reconfigure the Vietnam War as it echoes into the present century,
under the light of retrospection.

Huston-Tillotson University is a merged Historically Black College/University (HBCU) in Austin (established as Huston-Tillotson College in 1952). Its roots lie in Tillotson College (established in 1875) and Samuel Huston College (1877). Their Stories, Our Stories: Four Presidents of Huston-Tillotson University is the first comprehensive book covering the period of 1965-2022, the administrations of the four presidents.

No person is better suited to chronicle this history than Rosalee Martin. Upon her retirement after fifty years of service to the university, U.S. Representative Lloyd Doggett said, You have preserved the history of this institution and become part of it yourself. Their Stories, Our Stories captures Dr. Martin's fifty years, which overlapped with four university presidents from

the Civil Rights era to the present. Our story starts with the third president of the institution. Dr. John Q. Taylor King Sr. came up through the ranks from student to teacher, dean, and president at age 44. Dr. Joseph T. McMillan Jr. rose to the presidency from being a member of the Board of Trustees. He brought much chaos to HT, resulting in his downfall. Dr. Larry Earvin came to HT during a time when the institution's reaffirmation was being threatened. Dr. Colette Pierce-Burnette, the first woman to lead HT, was a STEM proponent for all students, especially women.

Through Dr. Martin's meticulous biographical and institutional narrative, readers will learn the nuts and bolts of university life, its trials and triumphs, and its struggles and successes.

Blackdom, New Mexico, was a township that lasted about
thirty years. In this book, Timothy E. Nelson situates the township's story
where it belongs: along the continuum of settlement in Mexico's Northern Frontier.
Dr. Nelson illuminates the set of conscious efforts that helped Black pioneers
develop Blackdom Township into a frontier boomtown.

Blackdom started as an inherited idea of a nineteenth-century
Afrotopia. The idea of creating a Blackdom was refined within Black
institutions as part of the perpetual movement of Black Colonization. In 1903,
thirteen Black men, encouraged by the 1896 Plessy v. Ferguson decision, formed the Blackdom
Townsite Company and set out to make Blackdom a real place in New Mexico, where
they were outside the reach of Jim Crow laws.

Many believed that Blackdom was simply abandoned. However,
new evidence shows that the scheme to build generational wealth continued to
exist throughout the twentieth century in other forms. During Blackdom's boomtimes,
in December 1919, Blackdom Oil Company shifted town business from a
regenerative agricultural community to a more extractive model. Nelson has
uncovered new primary source materials that suggest for Blackdom a newly
discovered third decade. This story has never been fully told or contextualized
until now.

Reoriented to Mexico's northern frontier, one
observes Black ministers, Black military personnel, and Black freemasons who
colonized as part of the transmogrification of Indigenous spaces into the
American West. Nelson's concept of the Afro-Frontier evokes a Turnerian West,
but it is also fruitfully understood as a Weberian Borderland. Its history highlights
a brief period and space that nurtured Black cowboy culture. While Blackdom's
civic presence was not lengthy, its significance--and that of the Afro-Frontier--is
an important window in the history of Afrotopias, Black Consciousness, and the
notion of an American West.

Fazlur Rahman's mother died tragically when he was only seven years old, but her words reverberated throughout his life: Someday you will be a doctor, Fazlur, and save lives. Eventually, he fled his war-torn homeland and, after years of training in New York and Houston, became a cancer doctor. He could never have imagined that his medical career would unfold in remote West Texas and that he would be a pioneer oncologist for a vast region.

Over a 35-year career, Rahman poured himself into not just taking care of his patients' challenging medical needs but learning from them and getting to know their lives, their families, and the circumstances that made each patient unique.

He narrates the instructive stories of five cancer patients: surviving against all odds; walking a long path with cancer and negotiating the steps of every day; bearing the crushing burdens of the exorbitant costs of cancer drugs, sometimes dictating a decision either to save one's own life or leaving enough for the family to live on; navigating the vagaries of old age and coping with malignancy; and patients' desire for dignity, a self-respect that we all want, rich or poor.

These compassionate tales are a blend of storytelling, cancer science, and Rahman's personal reflections and struggles in making medical decisions that treat a patient as a whole person, not just as a person with a disease.