Between 1932 and 1934, José Clemente Orozco painted the twenty-four-panel mural cycle entitled The Epic of American Civilization in Dartmouth College's Baker-Berry Library. An artifact of Orozco's migration from Mexico to the United States, the Epic represents a turning point in his career, standing as the only fresco in which he explores both US-American and Mexican narratives of national history, progress, and identity. While his title invokes the heroic epic form, the mural indicts history as complicit in colonial violence. It questions the claims of Manifest Destiny in the United States and the Mexican desire to mend the wounds of conquest in pursuit of a postcolonial national project. In Orozco's American Epic Mary K. Coffey places Orozco in the context of his contemporaries, such as Diego Rivera and David Alfaro Siqueiros, and demonstrates the Epic's power as a melancholic critique of official indigenism, industrial progress, and Marxist messianism. In the process, Coffey finds within Orozco's work a call for justice that resonates with contemporary debates about race, immigration, borders, and nationality.

Modern academic criticism bursts with what Eve Kosofsky Sedgwick once termed paranoid readings—interpretative feats that aim to prove a point, persuade an audience, and subtly denigrate anyone who disagrees. Driven by strategies of negation and suspicion, such rhetoric tends to drown out softer-spoken reparative efforts, which forego forceful argument in favor of ruminations on pleasure, love, sentiment, reform, care, and accessibility. Just Vibrations: The Purpose of Sounding Good calls for a time-out in our serious games of critical exchange. Charting the divergent paths of paranoid and reparative affects through illness narratives, academic work, queer life, noise pollution, sonic torture, and other touchy subjects, William Cheng exposes a host of stubborn norms in our daily orientations toward scholarship, self, and sound. How we choose to think about the perpetration and tolerance of critical and acoustic offenses may ultimately lead us down avenues of ethical ruin—or, if we choose, repair. With recourse to experimental rhetoric, interdisciplinary discretion, and the playful wisdoms of childhood, Cheng contends that reparative attitudes toward music and musicology can serve as barometers of better worlds.

From the co-founder of Plated, the home delivery food service, an inspirational business title that is a call-to-arms and investigation into the industrial American food complex. In early 2012, Nick Taranto was twenty-seven years old, recently married, and fresh out of the Marine Corps. He moved back to New York City, started working on Wall Street, and put on twenty pounds in under six months. He was pasty, overweight, and depressed – and he knew there had to be a better way to eat (and live). The Evolved Eater chronicles his quest to change how we eat, and what this means for the future of food. As the co-founder of Plated, which has delivered tens of millions of meals across the country in its first five years, Taranto cares about the food we eat. As Evolved Eaters, we strive to continually improve and evolve as we grow through life. And eating – and being close to the food you cook and consume – is an inseparable part of this evolution. Americans throw away over 300 billion pounds of food each year, while millions of children are food insecure or poorly nourished. How did the most food abundant nation in history get this vital issue so wrong? Taranto provides eye-opening facts about how we acquire and eat food and easy and practical things that you can do to improve the way you eat (and live) starting today. Eating doesn’t need to be complicated or painful or over-thought. We’re starting The Evolved Eater revolution right here, right now.

“A luminous, moving and visual record of fleeting moments of connection.” —New York Times Book Review, Editors’ Choice A visionary work of radical empathy. Known for immersion journalism that is more immersed than most people are willing to go, and for a prose style that is somehow both fierce and soulful, Jeff Sharlet dives deep into the darkness around us and awaiting us. This work began when his father had a heart attack; two years later, Jeff, still in his forties, had a heart attack of his own. In the grip of writerly self-doubt, Jeff turned to images, taking snapshots and posting them on Instagram, writing short, true stories that bloomed into documentary. During those two years, he spent a lot of time on the road: meeting strangers working night shifts as he drove through the mountains to see his father; exploring the life and death of Charley Keunang, a once-aspiring actor shot by the police on LA’s Skid Row; documenting gay pride amidst the violent homophobia of Putin’s Russia; passing time with homeless teen addicts in Dublin; and accompanying a lonely woman, whose only friend was a houseplant, on shopping trips. Early readers have called this book “incantatory,” the voice “prophetic,” in “James Agee’s tradition of looking at the reality of American lives.” Defined by insomnia and late-night driving and the companionship of other darkness-dwellers—night bakers and last-call drinkers, frightened people and frightening people, the homeless, the lost (or merely disoriented), and other people on the margins—This Brilliant Darkness erases the boundaries between author, subject, and reader to ask: how do people live with suffering?

This spellbinding novel narrates the many-layered recollections of a hallucinating man in devastated Beirut. The desolate, almost surreal, urban landscape is enriched by the unfolding of the family sagas of Niqula Mitri and his beloved Shamsa, the Kurdish maid. Mitri reminisces about his Egyptian mother and his father who came back to settle in Beirut after a long stay in Egypt. Both Mitri and his father are textile merchants and see the world through the code of cloth, from the intimacy of linen, velvet, and silk to the most impersonal of synthetics. Shamsa in turn relates her story, the myriad adventures of her parents and grandparents who moved from Iraqi Kurdistan to Beirut. Haunting scenes of pastoral Kurds are juxtaposed against the sedentary decadence of metropolitan residents. Barakat weaves into her sophisticated narrative shreds of scientific discourse about herbal plants and textile crafts, customs and manners of Arabs, Armenians, and Kurds, mythological figures from ancient Greece, Mesopotamia, Phoenicia, and Arabia, the theosophy of the African Dogons and the medieval Byzantines, and historical accounts of the Crusades in the Holy Land and the silk route to China.