Hyperboreal originates from diasporas. It attempts to make sense of change and to prepare for cultural, climate, and political turns that are sure to continue. The poems originate from the hope that our lives may be enriched by the expression of and reflection on the cultural strengths inherent to indigenous culture. It concerns King Island, the ancestral home of the author's family until the federal government's Bureau of Indian Affairs forcibly and permanently relocated its residents. The poems work towards the assembly of an identity, both collective and singular, that is capable of looking forward from the recollection and impact of an entire community's relocation to distant and arbitrary urban centers. Through language, Hyperboreal grants forum to issues of displacement, lack of access to traditional lands and resources and loss of family that King Island people—and all Inuit—are contending with.

1908. New Venice - the pearl of the Arctic' - a place of ice palaces and pneumatic tubes, a steampunk paradise of long nights and vistas of ice. But as the city prepares for spring, there is an overriding sense that something is about to explode. Local 'poletics' are wracked by tension as local Eskimos circle the city, with suffragette riots led by an underground music star, with drugs round-ups by the local police force known as 'The Gentlemen of the Night' heightening the anxiety. What transpires is a literary adventure unlike any before in the beginning of a great new series.'

Racial Theories in Fascist Italy examines the role played by race and racism in the development of Italian identity during the fascist period. The book examines the struggle between Mussolini, the fascist hierarchy, scientists and others in formulating a racial persona that would gain wide acceptance in Italy. This book will be of interest to historians, political scientists concerned with the development of fascism and scholars of race and racism.

This collection of poetry is inspired by the author’s lineage as an Iñupiaq Eskimo woman with family from King Island and Mary’s Igloo, Alaska. The poems’ syncopated cadences and evocative images bring to life the exceptional physical and cultural conditions of the Arctic and sub-Arctic that have been home to her ancestors for tens of thousands of years, while the poems’ speakers refer to an indigenous identity that has become increasingly plural. The author’s perspective as a Native person affords her unique insight into the relationship with place and self, which she applies in her consideration of the arctic landscape and to questions of adaptation and resilience. Kane’s work refers to the Inupiaq oral tradition, and while in some poems she continues to revisit, rewrite, and revise traditional narratives that are suited to the lyric form, she moves beyond narrative retelling, honoring the legacy of imagination that has sustained Inupiaq people for millennia.

Vols. 2 and 5 include appendices.