Minuteman offers a fascinating look at the technological breakthroughs necessary to field this weapon system that has served as a powerful component of the strategic nuclear triad for more than half a century. With exacting detail, Stumpf examines the construction of launch and launch control facilities; innovations in solid propellant, lightweight inertial guidance systems, and lightweight reentry vehicle development; and key flight tests and operational flight programs--all while situating the Minuteman program in the context of world events. In doing so, the author reveals how the historic missile has adapted to changing defense strategies--from counterforce to mutually assured destruction to sufficiency.

Winner of the 2019 Etel Adnan Poetry Prize

Inside the dodo bird is a forest, Inside the forest
a peach analog, Inside the peach analog a woman, Inside
the woman a lake of funerals

This layering of bird, woman, place, technology, and ceremony, which begins this first full-length collection by Zaina Alsous, mirrors the layering of insights that marks the collection as a whole. The poems in A Theory of Birds draw on inherited memory, historical record, critical theory, alternative geographies, and sharp observation. In them, birds--particularly extinct species--become metaphor for the violences perpetrated on othered bodies under the colonial gaze.

Putting ecological preservation in conversation with Arab racial formation, state vernacular with the chatter of birds, Alsous explores how categorization can be a tool for detachment, domination, and erasure. Stretching their wings toward de-erasure, these poems--their subjects and their logics--refuse to stay put within a single category. This is poetry in support of a decolonized mind.

Finalist, 2025 Miller Williams Poetry Prize

In her debut collection True Mistakes, the poet Lena Moses-Schmitt unleashes her powers of scrutiny on herself and on works of art to interrogate the essential nature of consciousness, identity, and time.

As the poet goes about daily life--taking long walks, painting at her desk, going to work, grappling with the deaths of friends, struggling with anxiety and depression--she ruminates on the boundaries between art and reality, grief and joy, living and imagining. For Moses-Schmitt, thought, like painting, is relentlessly high-stakes: I often think about things so hard / I kill them. And: Is it possible to paint myself so precisely / I disappear? Can I remember myself / so completely I'm erased? In the context of such ruminations, the poet's reflections on David Hockney's seminal pool paintings shimmer with sublimity and insight.

Working to turn mistakes--misperceptions, errors in life and in art--into sites of possibility and imagination instead of failure or confusion, Moses-Schmitt offers a truth for every reader, writes series editor Patricia Smith.

Winner of the 2010 Lois Roth Persian Translation Prize

In Wolpé's fresh and vital translation, a musical and compelling English version that draws the reader along and captures a sense of the exquisitely balanced pacing of Farrokhzad's language, and the immediacy and authenticity of her voice, the members of the Lois Roth jury found themselves experiencing Forugh's Persian poems with new eyes.
--Excerpt from the Lois Roth judges' award statement

Sin includes the entirety of Farrokhzad's last book, numerous selections from her fourth and most enduring book, Reborn, and selections from her earlier work, and creates a collection that is true to the meaning, the intention, and the music of the original poems.

Conceived during the 2020 COVID-19 lockdown and the accompanying rise in anti-Asian bigotry, Word of Mouth: Asian American Artists Sharing Recipes is an artists' cookbook featuring stories and artwork from twenty-three Asian American and Asian diaspora artists from across the United States, with contributions that range from Los Angeles-based performance artist Kristina Wong's Recipe for Political Action to New Orleans-based painter Francis Wong's family recipe for stir-fried Szechuan alligator.

Word of Mouth was first published as an online exhibition through the Virtual Asian American Art Museum. This print version features a new introduction by art historian Michelle Yee, expanded essays, and brand-new recipes. Each contribution is accompanied by an original illustration and enriched by the artist's reflections on how their cuisine has been impacted by histories of war, migration, relocation, labor, or mixing.

A pandemic project turned illustrated cookbook, this unique collection disrupts genre expectations to celebrate how artists use food to nurture and sustain their diverse communities and artistic practices as well as to build connection during times of isolation, grief, and loss.

Finalist, 2025 Miller Williams Poetry Prize

Julia Kolchinsky's Parallax offers a lyrical narrative of parenting a neurodiverse child under the shadow of the ongoing war in Ukraine, the poet's birthplace. As her child expresses a fascination with death and violence, Kolchinsky struggles to process the war unfolding far away, on the same soil where so many of her ancestors perished during the Holocaust.

Anchored by a series of poems that look to the moon, this collection explores displaced perspectives and turns to the celestial to offer meditations on how elements formed in distant stars account for so much of our human DNA. In these poems, writes series editor Patricia Smith, Kolchinsky clutches at a feeling of home that is both unfamiliar and deeply treasured, longs for all that was left behind, struggles to come to terms with the rampant violence devastating a landscape that still, in so many encouraging and heartbreaking ways, belongs to her.

Combining original historical research with interdisciplinary perspectives and informed by the work of Indigenous food sovereignty advocates and activists, this study sheds new light on the historical roles of Native American cuisine in American history and the significance of ongoing colonial processes in present-day discussions about the place of Native foods and Native history in our evolving worlds of taste, justice, and politics.

This fully illustrated volume includes essays by art historians and historians and reflections by the artists included in the collection. Also included are key contemporary writings--from the 1950s onward--by artists, scholars, and critics, investigating the themes of transculturalism and pan-Indian identity, traditional practices conducted in radically new ways, displacement, forced migration, shadow histories, the role of personal mythologies as a means to reimagine the future, and much more.

As both a survey of the development of Indigenous art from the 1950s to the present and a consideration of Native artists within contemporary art more broadly, Art for a New Understanding expands the definition of American art and sets the tone for future considerations of the subject. It is an essential publication for any institution or individual with an interest in contemporary Native American art, and an invaluable resource in ongoing scholarly considerations of the American contemporary art landscape at large.

This violence effectively brought to a close one of the longest rail strikes in American history--the only one, in fact, ended by a mob uprising. In Mob Rule in the Ozarks, Kenneth C. Barnes documents how the M&NA Railroad strike reflected some of the major economic concerns that preoccupied the United States in the wake of World War I, and created a rupture within communities of the Ozarks that would take years to heal. The conflict also foreshadowed, for both the region and the country, the pendulum's swing back to moneyed interests, away from Progressive Era gains for labor. Poignantly for Barnes, who sees parallels between this historic struggle and present-day political tensions, the strike revealed the fragile line between civil order and mob rule.

Finalist, 2025 Miller Williams Poetry Prize

John Allen Taylor's debut poetry collection To Let the Sun opens with an invitation both generous and resolute: take a walk with me . . . I hope you'll come / though I am going anyway. These poems peel back the layers of recovery as an adult from childhood sexual abuse, the myriad ways a body can change to protect itself from memory, and the difficulty of looking at abuse head-on. Taylor uses a poetics of reclamation to write the child-self from a perspective beyond trauma, to document the messiness of survival, the child's flight from himself, and the uncertain path home--to a life filled with small and perfect things. Through hermit crabs and golden pothos, fungal gnats and beet seed, the speaker reclaims himself: I am not lost . . . I know memory / is not healed by time, but / by the oddities / with which we adorn our lives, / the fragilities we need to know / we're needed by.

Arkansas Made is the culmination of Historic Arkansas Museum's exhaustive investigations into the history of the state's material culture. Decades of meticulous research have resulted in this exciting two-volume survey of cabinetmakers, silversmiths, potters, fine artists, quilters, and other artisans working in communities all over the state.

The work of the artisans documented here has been the driving force of Historic Arkansas Museum's mission to collect and preserve Arkansas's creative legacy and rich artistic traditions. Artisans from across Arkansas's rich cultural landscape come to life among the colorful quilts, playful temperance jugs, and inventive effigies included in Volume I. Readers will delight not only in the striking full-color images but also in the stories that weave them together across time and region to create a lively picture of art and artisanship in a state too little celebrated for its creative output.

In Lynching and Leisure, Terry Anne Scott examines how white Texans transformed lynching from a largely clandestine strategy of extralegal punishment into a form of racialized recreation in which crowd involvement was integral to the mode and methods of the violence. Scott powerfully documents how lynchings came to function not only as tools for debasing the status of Black people but also as highly anticipated occasions for entertainment, making memories with friends and neighbors, and reifying whiteness. In focusing on the sense of pleasure and normality that prevailed among the white spectatorship, this comprehensive study of Texas lynchings sheds new light on the practice understood as one of the chief strategies of racial domination in the nineteenth- and twentieth-century South.

Between 1972, when he published his first book, The Signing Knives, and 1978, when he died at the age of twenty-nine, Frank Stanford published seven volumes of poetry. Within a year of his death, two posthumous collections were published. At the time of this death, as Leon Stokesbury asserts in his introduction, Stanford was the best poet in America under the age of thirty-five.

The Light the Dead See collects the best work from those nine volumes and six previously unpublished poems. In the earlier poems, Stanford creates a world where he could keep childhood alive, deny time and mutability, and place a version of himself at the center of great myth and drama.

Later, the denial of time and mutability gives way to an obsessive and familiar confrontation with death. Although Stanford paid an enormous price for his growing familiarity with Death as a presence, the direct address to that presence is a source of much of the striking originality and stunning power in the poetry.

At its core, Rawand Mustafa's Umbilical Discord is an impossible attempt. Ambitious in scope, it strives to trace the billion-branched reach of the Palestinian context within a fixed yet flowing form--columnar, helical, intertwining, tense, intense. Incorporating testimonies by elder Palestinian women who survived the Nakba, or Palestinian Catastrophe of 1948, Mustafa re-presents the ongoing shockwaves from this historical upheaval by interlacing witnesses' stories with related recollections from her own family history. The overlapping accounts from Palestinian women that Mustafa has painstakingly translated or gathered from family members recall moments of supreme perseverance in the face of unimaginable violence, separation, and loss, while weaving together past and present, collective and individual, Arabic and English, memory and imagination, homeland and host country. As Trish Salah observes in the foreword for Umbilical Discord, these are poems of yearning and of being, both in spite of and fractured by an impossible history. [. . .] Mustafa offers resistant traces of the geographies and names dis/re-membered in [. . .] efforts to erase the material architecture and cultural memory of Arab life in Palestine. What must be traversed in order to come to tell a history? As Mustafa writes in 'dis cord, ' her opening poem, [. . .] 'I attempt / my story / on a lost / foundation.' 

Fulbright was erudite and eloquent in all the books he wrote, but this one is his masterpiece. Within its pages lie his now historic remonstrations against a great nation's overreach, his powerful argument for dissent, and his thoughtful propositions for a new way forward . . . lessons and cautions that resonate just as strongly today.
--From the foreword by Bill Clinton

Fulbright drew on his extensive experience in international relations to write The Arrogance of Power, a sweeping critique of American foreign policy, in particular the justification for the Vietnam War, Congress's failure to set limits on it, and the impulses that gave rise to it. This book--with its solid underpinning the idea that the most valuable public servant, like the true patriot, is one who gives a higher loyalty to his country's ideals than to its current policy,--was published in 1966 and sold four hundred thousand copies. The book remains an invaluable antidote to the official rhetoric of government, as the New York Times called it, fifty years after its first publication.

The Golden Shovel Anthology celebrates the life and work of poet and civil rights icon Gwendolyn Brooks through a dynamic new poetic form, the Golden Shovel, created by National Book Award-winner Terrance Hayes.

An array of writers--including winners of the Pulitzer Prize, the T. S. Eliot Prize, and the National Book Award, as well as a couple of National Poets Laureate--have written poems for this exciting new anthology: Rita Dove, Billy Collins, Danez Smith, Nikki Giovanni, Sharon Olds, Tracy K. Smith, Mark Doty, Sharon Draper, Richard Powers, and Julia Glass are just a few of the contributing poets.

This second edition includes Golden Shovel poems by two winners and six runners-up from an international student poetry competition judged by Nora Brooks Blakely, Gwendolyn Brooks's daughter. The poems by these eight talented high school students add to Ms. Brooks's legacy and contribute to the depth and breadth of this anthology.