Public Program Titles

100 Years of Ulysses

100 Years of Ulysses

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Ulysses is widely regarded as the greatest novel of the twentieth century. Commemorating the 1922 publication of this modernist masterwork, One Hundred Years of James Joyce's "Ulysses" tells the story of the writing, revising, printing, and censorship of the novel.

Edited by world-renowned Irish novelist and literary critic Colm Tóibín, this book presents ten essays by preeminent Joyce scholars and by curators of his manuscripts and early editions, as well as an interview with Sean Kelly, the New York gallery owner who donated his extensive Joyce collection to The Morgan Library & Museum. Beginning with Tóibín's expert interpretation of the Dublin context for Ulysses, the volume follows Joyce in Trieste, Zurich, and Paris from 1914 up through the novel's publication--and the international scandal and fame that ensues. It draws on Joyce's notebooks and letters, as well as extant manuscripts and proofs, to provide new insights into Joyce's life, the narrative and place of Ulysses, and the printed book.

Rich and illuminating, this volume is essential for scholars, fans, and readers of the novel. Along with the editor, contributors include Ronan Crowley, Maria DiBattista, Derick Dreher, Catherine Flynn, Anne Fogarty, Rick Gekoski, Joseph M. Hassett, James Maynard, and John McCourt.

All That She Carried: The Journey of Ashley's Sack, a Black Family Keepsake

All That She Carried: The Journey of Ashley's Sack, a Black Family Keepsake

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NATIONAL BOOK AWARD WINNER - A renowned historian traces the life of a single object handed down through three generations of Black women to craft an extraordinary testament to people who are left out of the archives.

KIRKUS PRIZE FINALIST - LONGLISTED FOR THE PEN/JOHN KENNETH GALBRAITH AWARD - ONE OF THE TEN BEST BOOKS OF THE YEAR: The Washington Post, Slate, Vulture, Publishers Weekly - ONE OF THE BEST BOOKS OF THE YEAR: The New York Times, NPR, Time, The Boston Globe, Smithsonian Magazine, Book Riot, Library Journal, Kirkus Reviews

"Deeply layered and insightful . . . [a] bold reflection on American history, African American resilience, and the human capacity for love and perseverance in the face of soul-crushing madness."--The Washington Post

"A history told with brilliance and tenderness and fearlessness."--Jill Lepore, author of These Truths: A History of the United States

In 1850s South Carolina, an enslaved woman named Rose faced a crisis, the imminent sale of her daughter Ashley. Thinking quickly, she packed a cotton bag with a few precious items as a token of love and to try to ensure Ashley's survival. Soon after, the nine-year-old girl was separated from her mother and sold.

Decades later, Ashley's granddaughter Ruth embroidered this family history on the bag in spare yet haunting language--including Rose's wish that "It be filled with my Love always." Ruth's sewn words, the reason we remember Ashley's sack today, evoke a sweeping family story of loss and of love passed down through generations. Now, in this illuminating, deeply moving book inspired by Rose's gift to Ashley, historian Tiya Miles carefully unearths these women's faint presence in archival records to follow the paths of their lives--and the lives of so many women like them--to write a singular and revelatory history of the experience of slavery, and the uncertain freedom afterward, in the United States.

The search to uncover this history is part of the story itself. For where the historical record falls short of capturing Rose's, Ashley's, and Ruth's full lives, Miles turns to objects and to art as equally important sources, assembling a chorus of women's and families' stories and critiquing the scant archives that for decades have overlooked so many. The contents of Ashley's sack--a tattered dress, handfuls of pecans, a braid of hair, "my Love always"--are eloquent evidence of the lives these women lived. As she follows Ashley's journey, Miles metaphorically unpacks the bag, deepening its emotional resonance and exploring the meanings and significance of everything it contained.

All That She Carried
is a poignant story of resilience and of love passed down through generations of women against steep odds. It honors the creativity and fierce resourcefulness of people who preserved family ties even when official systems refused to do so, and it serves as a visionary illustration of how to reconstruct and recount their stories today.

The 2021 National Book Award winner for nonfiction and Kirkus Prize Finalist - Renowned historian, Tiya Miles, traces the life of a single object handed down through three generations of Black women to craft a testament to extraordinary people whose stories were previously left untold.  

America for Americans: A History of Xenophobia in the United States

America for Americans: A History of Xenophobia in the United States

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This definitive history of American xenophobia is "essential reading for anyone who wants to build a more inclusive society" (Ibram X. Kendi, New York Times-bestselling author of How to Be an Antiracist). The United States is known as a nation of immigrants. But it is also a nation of xenophobia. In America for Americans, Erika Lee shows that an irrational fear, hatred, and hostility toward immigrants has been a defining feature of our nation from the colonial era to the Trump era. Benjamin Franklin ridiculed Germans for their "strange and foreign ways." Americans' anxiety over Irish Catholics turned xenophobia into a national political movement. Chinese immigrants were excluded, Japanese incarcerated, and Mexicans deported. Today, Americans fear Muslims, Latinos, and the so-called browning of America. Forcing us to confront this history, Lee explains how xenophobia works, why it has endured, and how it threatens America. Now updated with an epilogue reflecting on how the coronavirus pandemic turbocharged xenophobia, America for Americans is an urgent spur to action for any concerned citizen.

This definitive history of American xenophobia is "essential reading for anyone who wants to build a more inclusive society" (Ibram X. Kendi, New York Times-bestselling author of How to Be an Antiracist). The United States is known as a nation of immigrants. But it is also a nation of xenophobia. In America for Americans, Erika Lee shows that an irrational fear, hatred, and hostility toward immigrants has been a defining feature of our nation from the colonial era to the Trump era. Benjamin Franklin ridiculed Germans for their "strange and foreign ways." Americans' anxiety over Irish Catholics turned xenophobia into a national political movement. Chinese immigrants were excluded, Japanese incarcerated, and Mexicans deported. Today, Americans fear Muslims, Latinos, and the so-called browning of America. Forcing us to confront this history, Lee explains how xenophobia works, why it has endured, and how it threatens America. Now updated with an epilogue reflecting on how the coronavirus pandemic turbocharged xenophobia, America for Americans is an urgent spur to action for any concerned citizen. 

I've Been Here All the While: Black Freedom on Native Land

I've Been Here All the While: Black Freedom on Native Land

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Perhaps no other symbol has more resonance in African American history than that of 40 acres and a mule--the lost promise of Black reparations for slavery after the Civil War. In I've Been Here All the While, we meet the Black people who actually received this mythic 40 acres, the American settlers who coveted this land, and the Native Americans whose holdings it originated from.

In nineteenth-century Indian Territory (modern-day Oklahoma), a story unfolds that ties African American and Native American history tightly together, revealing a western theatre of Civil War and Reconstruction, in which Cherokee, Choctaw, Chickasaw, Creek, and Seminole Indians, their Black slaves, and African Americans and whites from the eastern United States fought military and rhetorical battles to lay claim to land that had been taken from others.

Through chapters that chart cycles of dispossession, land seizure, and settlement in Indian Territory, Alaina E. Roberts draws on archival research and family history to upend the traditional story of Reconstruction. She connects debates about Black freedom and Native American citizenship to westward expansion onto Native land. As Black, white, and Native people constructed ideas of race, belonging, and national identity, this part of the West became, for a short time, the last place where Black people could escape Jim Crow, finding land and exercising political rights, until Oklahoma statehood in 1907.

Last Call at the Hotel Imperial

Last Call at the Hotel Imperial

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A prize-winning historian's revelatory account of a close-knit band of wildly famous American reporters who, in the run-up to World War II, took on dictators and rewrote the rules of modern journalism

"As intimate and gripping as a novel, this brilliant book vividly conveys what it felt like to live through the shocking crises of the thirties and forties."--Larissa MacFarquhar, author of Strangers Drowning

They were an astonishing group: glamorous, gutsy, and irreverent to the bone. As cub reporters in the 1920s, they roamed across a war-ravaged world, sometimes perched atop mules on wooden saddles, sometimes gliding through countries in the splendor of a first-class sleeper car. While empires collapsed and fledgling democracies faltered, they chased deposed empresses, international financiers, and Balkan gun-runners, and then knocked back doubles late into the night.

Last Call at the Hotel Imperial is the extraordinary story of John Gunther, H. R. Knickerbocker, Vincent Sheean, and Dorothy Thompson. In those tumultuous years, they landed exclusive interviews with Hitler and Mussolini, Nehru and Gandhi, and helped shape what Americans knew about the world. Alongside these backstage glimpses into the halls of power, they left another equally incredible set of records. Living in the heady afterglow of Freud, they subjected themselves to frank, critical scrutiny and argued about love, war, sex, death, and everything in between.

Plunged into successive global crises, Gunther, Knickerbocker, Sheean, and Thompson could no longer separate themselves from the turmoil that surrounded them. To tell that story, they broke long-standing taboos. From their circle came not just the first modern account of illness in Gunther's Death Be Not Proud--a memoir about his son's death from cancer--but the first no-holds-barred chronicle of a marriage: Sheean's Dorothy and Red, about Thompson's fractious relationship with Sinclair Lewis.

Told with the immediacy of a conversation overheard, this revelatory book captures how the global upheavals of the twentieth century felt up close.


Louis Sullivan's Idea

Louis Sullivan's Idea

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A visual compendium revealing the philosophy and life of America's renowned architect

The story of Louis H. Sullivan is considered one of the great American tragedies. While Sullivan reshaped architectural thought and practice and contributed significantly to the foundations of modern architecture, he suffered a sad and lonely death. Many have since missed his aim: that of bringing buildings to life. What mattered most to Sullivan were not the buildings but the philosophy behind their creation. Once, he unconcernedly stated that if he lived long enough, he would get to see all of his works destroyed. He added: "Only the idea is the important thing."

In Louis Sullivan's Idea, Chicago architectural historian Tim Samuelson and artist/writer Chris Ware present Sullivan's commitment to his discipline of thought as the guiding force behind his work, and this collection of photographs, original documentation, and drawings all date from the period of Sullivan's life, 1856-1924, that many rarely or have never seen before. The book includes a full-size foldout facsimile reproduction of Louis Sullivan's last architectural commission and the only surviving working drawing done in his own hand.

NATION OF DESCENDANTS: POLITIC

NATION OF DESCENDANTS: POLITIC

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From family trees written in early American bibles to birther conspiracy theories, genealogy has always mattered in the United States, whether for taking stock of kin when organizing a family reunion or drawing on membership--by blood or other means--to claim rights to land, inheritances, and more. And since the advent of DNA kits that purportedly trace genealogical relations through genetics, millions of people have used them to learn about their medical histories, biological parentage, and ethnic background.

A Nation of Descendants traces Americans' fascination with tracking family lineage through three centuries. Francesca Morgan examines how specific groups throughout history grappled with finding and recording their forebears, focusing on Anglo-American white, Mormon, African American, Jewish, and Native American people. Morgan also describes how individuals and researchers use genealogy for personal and scholarly purposes, and she explores how local businesspeople, companies like Ancestry.com, and Henry Louis Gates Jr.'s Finding Your Roots series powered the commercialization and commodification of genealogy.



Only the Clothes on Her Back: Clothing and the Hidden History of Power in the Nineteenth-Century United States

Only the Clothes on Her Back: Clothing and the Hidden History of Power in the Nineteenth-Century United States

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An innovative recasting of US legal and economic history through the power of clothing for those who lacked power and status in American society.

What can dresses, bedlinens, waistcoats, pantaloons, shoes, and kerchiefs tell us about the legal status of the least powerful members of American society? In the hands of eminent historian Laura F. Edwards, these textiles tell a revealing story of ordinary people and how they made use of their
material goods' economic and legal value in the period between the Revolution and the Civil War.

Only the Clothes on Her Back uncovers practices, commonly known then, but now long forgotten, which made textiles--clothing, cloth, bedding, and accessories, such as shoes and hats--a unique form of property that people without rights could own and exchange. The value of textiles depended on law,
and it was law that turned these goods into a secure form of property for marginalized people, who not only used these textiles as currency, credit, and capital, but also as entree into the new republic's economy and governing institutions. Edwards grounds the laws relating to textiles in engaging
stories from the lives of everyday Americans. Wives wove linen and kept the proceeds, enslaved people traded coats and shoes, and poor people invested in fabrics, which they carefully preserved in trunks. Edwards shows that these stories are about far more than cloth and clothing; they reshape our
understanding of law and the economy in America.

Based on painstaking archival research from fifteen states, Only the Clothes on Her Back reconstructs this hidden history of power, tracing it from the governing order of the early republic in which textiles' legal principles flourished to the textiles' legal downfall in the mid-nineteenth century
when they were crowded out by the rising power of rights.

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Riding Jane Crow: African American Women on the American Railroad

Riding Jane Crow: African American Women on the American Railroad

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Miriam Thaggert illuminates the stories of African American women as passengers and as workers on the nineteenth- and early-twentieth-century railroad. As Jim Crow laws became more prevalent and forced Black Americans to "ride Jim Crow" on the rails, the train compartment became a contested space of leisure and work. Riding Jane Crow examines four instances of Black female railroad travel: the travel narratives of Black female intellectuals such as Anna Julia Cooper and Mary Church Terrell; Black middle-class women who sued to ride in first class "ladies' cars"; Black women railroad food vendors; and Black maids on Pullman trains. Thaggert argues that the railroad represented a technological advancement that was entwined with African American attempts to secure social progress. Black women's experiences on or near the railroad illustrate how American technological progress has often meant their ejection or displacement; thus, it is the Black woman who most fully measures the success of American freedom and privilege, or "progress," through her travel experiences.
Staging Indigeneity

Staging Indigeneity

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As tourists increasingly moved across the United States in the late nineteenth and early twentieth centuries, a surprising number of communities looked to capitalize on the histories of Native American people to create tourist attractions. From the Happy Canyon Indian Pageant and Wild West Show in Pendleton, Oregon, to outdoor dramas like Tecumseh! in Chillicothe, Ohio, and Unto These Hills in Cherokee, North Carolina, locals staged performances that claimed to honor an Indigenous past while depicting that past on white settlers' terms. Linking the origins of these performances to their present-day incarnations, this incisive book reveals how they constituted what Katrina Phillips calls "salvage tourism"--a set of practices paralleling so-called salvage ethnography, which documented the histories, languages, and cultures of Indigenous people while reinforcing a belief that Native American societies were inevitably disappearing.

Across time, Phillips argues, tourism, nostalgia, and authenticity converge in the creation of salvage tourism, which blends tourism and history, contestations over citizenship, identity, belonging, and the continued use of Indians and Indianness as a means of escape, entertainment, and economic development.