The American South has a passionate affinity with literature that no other region of the country can claim and its heritage is evoked and constantly reinvented through the words of its writers. Internationally acclaimed photographer Curt Richter was initially commissioned by Louis D. Rubin Jr. to photograph the founding members of the Fellowship of Southern Writers. The first author to sit for him for the series was Eudora Welty and the last was Alice Walker. The project grew and, over a seven-year period, he photographed over two hundred writers associated with the South. Nearly one hundred of these images appear in A Portrait of Southern Writers, beyond any doubt the most stunning and significant collection of photographs of Southern writers ever gathered. Richter does not focus his lens on capturing the totality of a writer's life but instead presents a moment of reflection in the face of the pressure of, and struggles with, creativity. What emerges is a collection of spectacular images which silently offer us insight into these writers' lives.

Now little recognized by their neighbors, Southern Paiutes once had homelands that included much of the vast Colorado Plateau, Great Basin, and Mojave Desert. From the Four Corners’ San Juan River to California’s lower Colorado, from Death Valley to Canyonlands, from Capitol Reef to the Grand Canyon, Paiutes lived in many small, widespread communities. They still do, but the communities are fewer, smaller, and mostly deprived of the lands and resources that sustained traditional lives. To portray a people and the individuals who comprise it, William Logan Hebner and Michael L. Plyler relay Paiute voices and reveal Paiute faces, creating a space for them to tell their stories and stake claim to who they once were and now are.

How well do we know our country? Whom do we include when we use the word "American"? These are not just contemporary issues but recurring and seemingly permanent questions Americans have asked themselves throughout their history-and questions that were ad

Hazel Pendley creates heirloom-quality quilts. Ed Ripley wraps bits of fur and feathers into trout flies the size of gnats. Edna Hartong still makes an item that has all but disappeared from the American scene: lye soap. All of these people, and many more like them, are Appalachians who work with their hands. Journalist Sam Venable and photographer Paul Efird spent four years combing the hills and hollows of Southern Appalachia to find these talented individuals and let them talk about their work. Mountain Hands is an intimate look at more than three dozen such craftspeople and their vocations. Venable and Efird encountered folks who pursue popular crafts, such as basketweaving and clockmaking. But they found practitioners of other trades--wallpaper hangers and rail splitters, beekeepers and gravediggers--whose work also depends upon dexterity and upon expressing a distinctive Appalachian way of life. Some are college educated, some can barely read and write; some have lived in these hills all their lives, others have only recently come to call them home. Yet each feels bound to the region through a deep sense of belonging, and each owes at least part of his or her livelihood to handwork. While most of us may think of working with one's hands as entering computer data, these individuals attest to the perseverance--and appeal--of more traditional ways. Mountain Hands is a celebration in words and photographs of gifted people who understand and appreciate the Appalachian heritage--and who live it every day. The Author: A fifth-generation southern Appalachian, Sam Venable is a newspaper columnist whose award-winning observations on daily life appear four times a week in the Knoxville News-Sentinel. A graduate of the University of Tennessee, Venable has spent most of his career roaming the highlands of his home state. He and his wife, Mary Ann, also a Tennessee native and UT graduate, live in a log house atop a wooded ridge on the outskirts of Knoxville. The Photographer: Paul Efird is a native of Rome, Georgia. He holds a degree in biology from Shorter College but has spent his professional career as a news photographer. After working for two newspapers in Georgia, he moved to Tennessee in 1990 and became a staff photographer for the News-Sentinel. Efird is an avid hiker, canoeist, and backpacker. He and his wife, Stephanie, live in Knoxville.

In this magisterial account of the life and work of St Anselm, now in paperback, Sir Richard Southern provides a study in depth of one of the most fascinating minds in Christian history.

A fierce collection of essays that tackle the question, "Who is welcome?" while also uplifting and celebrating the incredible diversity in the contemporary South, by twenty-one of the finest young writers of color living and working there. Essays in A Measure of Belonging: Writers of Color on the New American South, examine issues of sex, gender, academia, family, immigration, health, social justice, sports, music, and more. Kiese Laymon navigates the racial politics of publishing while recording his audiobook in Mississippi. Regina Bradley moves to Indiana and grapples with a landscape devoid of her Southern cultural touchstones, like Popeyes and OutKast. Aruni Kashyap apartment hunts in Athens and encounters a minefield of invasive questions. Frederick McKindra delves into the particularly Southern history of Beyonce's black majorettes. From the DMV to the college basketball court to doctors' offices, there are no shortage of places of tension in the American South. Urgent, necessary, funny, and poignant, these essays from new and established voices confront the complexities of the South's relationship with race, uncovering the particular difficulties and profound joys of being a southerner in the 21st century. With writing from Cinelle Barnes, Jaswinder Bolina, Regina Bradley, Jennifer Hope Choi, Tiana Clark, Christena Cleveland, Osayi Endolyn, M. Evelina Galang, Minda Honey, Gary Jackson, Toni Jensen, Aruni Kashyap, Latria Graham, Soniah Kamal, Frederick McKindra, Devi Laskar, Kiese Laymon, Nichole Perkins, Joy Priest, Ivelisse Rodriguez, and Natalia Sylvester.

One of America's great poets writes of his father, lost through death and discovered again through insistent recollection. A death in the family forces a re-sorting and reshaping of all that we can recall of times and people gone from us as we measure our identities by their remembered images. While prowling in the past, Warren is drawn to likenesses between himself and his father, between himself and others of his family. The poet finds that his father too, in his long silent youth, ventured into the writing of poetry, as have so many, but in time put it away for other things. Gradually this elegy for his father becomes Warren's reverie on the many Warrens and Penns who live now only in his memory. We encounter his mother and his mother's mother, his father's Warren line thrown back over three generations, as he draws forth sameness, giving shape and full form and then sharp recognition to family members who were and must yet remain mysteries. Then we see that Warren is delineating the tenuous threads of all our many unsettled and fragmentary American family histories, that he is tracing all our steps from the coast over mountain trails into the dark wilderness to the west. With him, when we stop to consider our loved and lost ones, we realize the delicacy of our accepted relationships. In this autobiographical essay and the accompanying poem sequence that echoes it, "Mortmain," Warren's look into the mystery of the past evokes for us the loss and recovery and wonder that death brings.