Roy R. Manstan’s new book documents the rise of German submarines in World War I and the Allies’ successful response of tracking them with innovative listening devices—precursors to modern sonar. The Listeners: U-boat Hunters During the Great War details the struggle to find a solution to the unanticipated efficiency of the German U-boat as an undersea predator. Success or failure was in the hands and minds of the scientists and naval personnel at the Naval Experimental Station in New London, Connecticut. Through the use of archival materials, personal papers, and memoirs The Listeners takes readers into the world of the civilian scientists and engineers and naval personnel who were directly involved with the development and use of submarine detection technology during the war.

Henry ‘Opukaha‘ia (ca. 1792–1818), Native Hawaiian, and Itankusun Wanbli (ca. 1879–1900), Oglala Lakota, lived almost a century apart. Yet the cultural circumstances that led them to leave their homelands and eventually die in Connecticut have striking similarities. p kaha ia was orphaned during the turmoil caused in part by Kamehameha’s wars in Hawai’i and found passage on a ship to New England, where he was introduced and converted to Christianity, becoming the inspiration behind the first Christian missions to Hawai’i. Itankusun Wanbli, Christianized as Albert Afraid of Hawk, performed in Buffalo Bill’s “Wild West” as a way to make a living after his traditional means of sustenance were impacted by American expansionism. Both young men died while on their “journeys” to find fulfillment and both were buried in Connecticut cemeteries. In 1992 and 2008, descendant women had callings that their ancestors “wanted to come home” and began the repatriation process of their physical remains. CT state archaeologist Nick Bellantoni oversaw the archaeological disinterment, forensic identifications and return of their skeletal remains back to their Native communities and families. The Long Journeys Home chronicles these important stories as examples of the wide-reaching impact of American imperialism and colonialism on Indigenous Hawaiian and Lakota traditions and their cultural resurgences, in which the repatriation of these young men have played significant roles. Bellantoni’s excavations, his interaction with two Native families and his participation in their repatriations have given him unique insights into the importance of heritage and family among contemporary Native communities and their common ground with archaeologists. His natural storytelling abilities allow him to share these meaningful stories with a larger general audience.

In hyperbolic fashion, the preface to this volume reads, “There are times in the lives of us all in which we are at a loss for words. This volume attempts a partial solution.” What follows are thirty things perhaps we shouldn’t say, but find ourselves saying anyway. The book is pointedly funny.

Native Tributes is a sequel to Blue Ravens by Gerald Vizenor, a historical novel about Native Americans in the First World War published by Wesleyan University Press in 2014. Basile Hudon Beaulieu, a native writer, his brother Aloysius, an abstract artist, travel by train from the White Earth Reservation in Minnesota to Washington, D.C. where they protest with thousands of other military veterans in the Bonus Army, and their cousin By Now Rose Beaulieu, a veteran nurse, rides her horse named Treaty to the same march during the summer of 1932. Aloysius creates hand puppets and entertains the spirited veterans with the mockery of communists and President Herbert Hoover. General Douglas McArthur routes the veterans from the National Mall, and the Beaulieu brothers move to an encampment of needy veterans in Hard Luck Town on the East River in New York City. The brothers visit the Biblo and Tanner Booksellers, a gallery owned by Alfred Stieglitz, the Modicut Puppet Theatre, and an exhibition at the Museum of Modern Art. Aloysius is inspired by Arthur Dove, Chaïm Soutine, and Marc Chagall. Native Tributes is a journey of liberty, and escapes the enticement of nostalgia and victimry. Vizenor maintains his masterly perception of oral stories, and creates a dynamic literary tribute to Native American veterans and visionary artists in the Great Depression.

The chapbook includes absurd graphs, charts, and diagrams that tell the truth about dogs—their size, attitude, and likeability is laid bare for all to read and enjoy.

Rhyming couplets meet etched illustrations in this whimsically dark chapbook about poets and their deaths.

Best American Experimental Writing 2018, guest-edited by Myung Mi Kim, is the fifth edition of the critically acclaimed anthology series compiling an exciting mix of fiction, poetry, non-fiction, and genre-defying work. Featuring a diverse roster of writers and artists culled from both established authors—like Mei-mei Berssenbrugge, Don Mee Choi, Mónica de la Torre, Layli Long Soldier, and Simone White—as well as new and unexpected voices, including Clickhole.com, BAX 2018 presents an expansive view of today’s experimental and high-energy writing practices. A perfect gift for discerning readers as well as an important classroom tool, Best American Experimental Writing 2018 is a vital addition to the American literary landscape.

All modes of human inquiry, from the artistic to the scientific, are archived as body knowledge. The Sentient Archive gathers together the work of scholars and practitioners in dance, performance, science, and the visual arts. These twenty-eight rich and challenging essays cross boundaries within and between disciplines, mediating the theoretical and the experiential to illustrate how the body serves as a repository for knowledge. In drawing connections between body and archive, the essayists consider how and why the moving body generates and stores information for recall, retrieval, or reenactment. The writers address issues of history, memory, and agency, but the knowing body, performed or reenacted, remains a focal point. Contributors include Nancy Goldner, Alain Platel, Catherine Stevens, Meg Stuart, Andre Lepecki, Ralph Lemon, and other notable scholars and artists.Hardcover is un-jacketed.

Documentary filmmakers have been making films about music for a half-century. American Music Documentary looks at five key films to begin to imagine how we might produce, edit, and watch films from an ethnomusicological point of view. Reconsidering Albert and David Maysles’s Gimme Shelter, Jill Godmilow’s Antonia: A Portrait of the Woman, Shirley Clarke’s Ornette: Made in America, D. A. Pennebaker’s and Chris Hegedus’s Depeche Mode: 101, and Jem Cohen’s and Fugazi’s Instrument, Harbert lays the foundations for the study and practice of “ciné-ethnomusicology.” Interviews with directors and rich analysis from the disciplinary perspectives of film studies and ethnomusicology make this book a critical companion to some of the most celebrated music documentaries of the twentieth century.Hardcover is un-jacketed.

Over the past century and a half, the voices and bodies of animals have been used by scientists and music experts as a benchmark for measures of natural difference. Animal Musicalities traces music’s taxonomies from Darwin to digital bird guides to show how animal song has become the starting point for enduring evaluations of species, races, and cultures. By examining the influential efforts made by a small group of men and women to define human diversity in relation to animal voices, this book raises profound questions about the creation of modern human identity, and the foundations of modern humanism.

The Broadway sensation Hamilton has sparked renewed interest in the historical figures of Alexander Hamilton and Aaron Burr. This closely annotated thread of documents provides a riveting account of the lead-up to and aftermath of their disastrous duel. From the summer of 1804, we have the fiery correspondence between Hamilton and Burr, notes and accounts from their seconds-in-command, and other documents that provide an immediate sense of the personalities and times. The introduction and conclusion provide a concise and informative perspective on the parallel lives of Hamilton and Burr and of the duel’s lasting impacts on American history. This is the perfect summary of the events that inspired the hit musical—a great resource for teachers and students and the perfect gift for history buffs.

Art can't shield our bodies or stabilize the earth's climate, but Evie Shockley's semiautomatic insists that it can feed the spirit and reawaken the imagination. The volume responds primarily to the twenty-first century's inescapable evidence of the terms of black life—not so much new as newly visible. The poems trace a whole web of connections between the kinds of violence that affect people across the racial, ethnic, gender, class, sexual, national, and linguistic boundaries that do and do not divide us. How do we protect our humanity, our ability to feel deeply and think freely, in the face of a seemingly endless onslaught of physical, social, and environmental abuses? Where do we find language to describe, process, and check the attacks and injuries we see and suffer? What actions can break us out of the soul-numbing cycle of emotions, moving through outrage, mourning, and despair, again and again? In poems that span fragment to narrative and quiz to constraint, from procedure to prose and sequence to song, semiautomatic culls past and present for guides to a hoped-for future.

The legendary modernist poet William Carlos Williams described this seventeenth-century book as “far more ‘modern’ than ever Hemingway or even Gertie ever thought of being” and “hot as hell besides.” Williams translated this Spanish novella, originally published in 1625, with the help of Raquel Hélène Williams, his Puerto Rican mother. Williams recalled that its biting satire targeting the corruption of the court, the church, and society and driven by comic double entendre made them laugh out loud and amused them tremendously as they worked on the translation. In Williams’s hands, the novella becomes a daring modernist experiment with the poetry of prose and the American idiom. This edition includes Williams’s as-yet unpublished running commentary on the narrative, and an illuminating introduction from editor Jonathan Cohen that contextualizes the work in Williams’s canon.Hardcover is un-jacketed.

Pulitzer Prize-winning photographer Steven G. Smith showcases the picturesque Thames River basin, which extends from southern Massachusetts through Connecticut to the Long Island Sound. The river and its watershed help define the borders of a valley that is unique among its East Coast neighbors, considered to be the last place where dark night sky can be viewed between Washington, D. C. and the Boston metro area. Locals like to call the area the “Quiet Corner” or the “Last Green Valley.” In 1994, the U.S. Congress designated parts of the area as a Natural Heritage Corridor because it is one of the last remaining stretches of green in the area and boasts some of the largest unbroken forests in southern New England. This full-color documentary photo essay explores this Atlantic gem, through the faces of the people and the landscapes. An excellent gift and an educational resource, the book includes a foreword by noted outdoor writer Steve Grant.

This collection of essays provides the first in-depth examination of camp as it relates to a wide variety of twentieth and twenty-first century music and musical performances. Located at the convergence of popular and queer musicology, the book provides new research into camp’s presence, techniques, discourses, and potential meanings across a broad spectrum of musical genres, including: musical theatre, classical music, film music, opera, instrumental music, the Broadway musical, rock, pop, hip-hop, and Christmas carols. This significant contribution to the field of camp studies investigates why and how music has served as an expressive and political vehicle for both the aesthetic characteristics and the receptive modes that have been associated with camp throughout twentieth and twenty-first-century culture. Hardcover is un-jacketed.

Elbert Weinberg, a supremely gifted sculptor, was widely regarded as one of the most promising young artists of the 1950s and 1960s. His sculptures are imbued with historical, literary, mythological, and biblical subtext and so belong to the grand art historical tradition. Weinberg’s work can be found in Atlanta, Cincinnati, Pittsburgh, San Francisco and his home city of Hartford, and in public and private collections across the United States and Europe. He is perhaps best known for his two Holocaust memorials in Wilmington, Delaware, and West Hartford, Connecticut. In 2014, the Weinberg Trust donated several of Weinberg’s sculptures, many of his prints and drawings, a large collection of manuscripts, ephemera, and photographs documenting his work to the Hartford History Center at the Hartford Public Library. This in-depth analysis of the artist’s most important sculptures includes a brief biography, two interpretive essays, and more than fifty illustrations documenting his life and work. An exhibit retrospective opens May 2018 in Hartford, Connecticut.