Captured on October 11, 1863, James Riley Weaver, a Union cavalry officer, spent nearly seventeen months in Confederate prisons. Remarkably, Weaver kept a diary that documents 666 consecutive days of his experience, including his cavalry duties, life in a series of prisons throughout the South, and his return to civilian life. It is an unparalleled eyewitness account of a crucial part of our history.

Speak a Powerful Magic features poems by schoolchildren, immigrants and refugees, patients and caregivers, and veterans, alongside the work of well-known contemporary American poets, and it demonstrates that poetry is truly of the people. We turn to poetry to give voice to what is troubling us, to honor what we love, to make sense of our lives, to remember our past, and to commemorate what we’ve lost. Here, it becomes clear that poetry, especially when coupled with the visual arts, has the potential to broaden our understanding and bring people together in ways that more traditional communications simply cannot.

Redemption in ’64 entertains readers with the growing excitement of the Browns’ turnaround seasons. It concludes with play-by-play action of Cleveland’s thrilling victory over Johnny Unitas’s Baltimore Colts in the 1964 NFL championship contest, still one of the greatest professional football upsets of all time.

George Gordon Meade has not been treated kindly by history. Victorious at Gettysburg, the biggest battle of the American Civil War, Meade was the longest-serving commander of the Army of the Potomac, leading his army through the brutal Overland Campaign and on to the surrender of Robert E. Lee and the Army of Northern Virginia at Appomattox. Serving alongside his new superior, Ulysses S. Grant, in the last year of the war, his role has been overshadowed by the popular Grant. This first full-length study of Meade’s two-year tenure as commander of the Army of the Potomac brings him out of Grant’s shadow and into focus as one of the top three Union generals of the war.

What is it like to be a student nurse? What are the joys, the stresses, the transcendent moments, the fall-off-your-bed-laughing moments, and the terrors that have to be faced and stared down? And how might nurses, looking back, relate these experiences in ways that bring these memories to life again and provide historical context for how nursing education has changed and yet remained the same?

In brave, revealing, and often humorous poetry and prose, Learning to Heal explores these questions with contributions by nurses from a variety of social, ethnic, and geographical backgrounds. Readers meet a black nursing student who is surrounded by white teachers and patients in 1940, a mother who rises every morning at 5 a.m. to help her family ready for their day before she herself heads to anatomy class, and an itinerant Jewish teenager who is asked, “What will you become?” These individuals, and many other women and men, share personal stories of finding their way to nursing school, where they begin a long, often wonderful, and sometimes daunting, journey.

After clearing Virginia’s Shenandoah Valley of Federal troops, Gen. Robert E. Lee’s bold invasion into the North reached the Maryland shore of the Potomac River on June 15, 1863. A week later, the Confederate infantry crossed into lower Pennsylvania, where they had their first sustained interactions with the civilian population in a solidly pro-Union state. Most of the initial encounters with the people in the lush Cumberland Valley and the neighboring parts of the state involved the men from the Army of Northern Virginia’s famed Second Corps, commanded by Lt. Gen. Richard S. Ewell, who led the way as Lee’s veteran soldiers advanced north toward their eventual showdown with the Union army at the crossroads town of Gettysburg.

As bombs fell on London almost nightly from the autumn of 1940 through the summer of 1941, the lives of ordinary people were altered beyond recognition. A reclusive Oxford lecturer found himself speaking, not about Renaissance literature to a roomful of students but about Christian doctrine into a BBC microphone. A writer of popular fiction found herself exploring not the intricacies of the whodunit but the mysteries of suffering and grace. An erudite poet and literary critic found himself patrolling the dark streets and piecing together images of fire and redemption. C. S. Lewis, Dorothy L. Sayers, and T. S. Eliot became something they had not been before the war: bearers of a terrible, yet triumphant, message that people could not expect to be spared from pain and suffering, but they would be redeemed through pain and suffering.

The book states plainly that both its speaker and the speaker’s mother have suffered near-deadly head injuries (“when I woke up in the hospital thirty years after you did,” “my head: / rotting pear”), resulting in loss of memory. However, rather than let a taxonomy like “family curse” sit unquestioned, Green writes toward the fugues (i.e., the condition of having one’s identity questioned) by making a kind of fugue (i.e., interweaving song). Johnathan Culler writes that “the fundamental characteristic of the lyric . . . is not the description and interpretation of a past event, but the iterative and utterable performance of an event in the lyric present, in the special ‘now’ of lyric articulation.” The lyric in Fugue Figure allows the unspeakable past to be uttered in the lyric present, and the form of diptychs and triptychs through the book place disparate lyric utterances together on the same page. While lyric addresses allow the reader to reach toward the speaker’s unknowns, the triptychs and diptychs allow the reader to reach toward the unnamable place between left and right signifiers, both adding to the vital enigma of the poems.

Teaching Hemingway and Race provides a practicable means for teaching the subject of race in Hemingway’s writing and related texts—from how to approach ethnic, nonwhite international, and tribal characters to how to teach difficult questions of racial representation. Rather than suggesting that Hemingway’s portrayals of cultural otherness are incidental to teaching and reading the texts, the volume brings them to the fore.