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Richard O. Davies takes the reader through two hundred years of American history as reflected in the small Ohio farming village of Camden. Davies describes the development of the relatively self-sufficient community that emerged from the Ohio land rush of the early nineteenth century, a community that reached its apex during the 1920s and then entered into a period of slow decline caused by forces beyond its control. He details the roles of land speculation, the railroad era, the impact of the automobile, the emergence of a tightly knit community, and finally the post-World War II loss of business and population to the nearby cities of Dayton, Hamilton, and Cincinnati.

Ownership battles over the marbles removed from the Parthenon by Lord Elgin have been rumbling into invective, pleading, and counterclaims for two centuries. The emotional temperature around them is high, and steering across the vast past to safe anchor in a brilliant heritage is tricky. The stories around antiquities become distorted by the pull of ownership, and it is these stories that urge Patricia Vigderman into her own exploration of their inspiring legacy in her compelling extended essay, The Real Life of the Parthenon. Vigderman''s own journey began at the Parthenon, but curiosity edged her further onto the sea between antiquity and the present. She set out to seek the broken temples and amphorae, the mysterious smiles of archaic sculpture, and the finely hammered gold of a funeral wreath among the jumbled streets of modern Athens, the fertile fields of Sicily, the mozzarella buffalo of Paestum. Guided along the way toward the enduring landscapes and fractured history by archeologists, classicists, historians, and artists-and by the desire they inspire-she was caught by ongoing, contemporary local life among the ruins. Gathering present meaning and resonance for the once and future remains of vanished glory, The Real Life of the Parthenon illuminates an important but shadowy element of our common cultural life: the living dynamic between loss and delight. 

In his first book of poetry in twenty years, Michael J. Rosen captures life in the foothills of the Appalachians. Every Species of Hope: Georgics, Haiku, and Other Poems uses a variety of poetic forms, as well as Rosen''s own pen-and-ink drawings, to give voice to the predicaments of living among other creatures who share a plot of land we think we claim as home. The poems are an attempt at homeostasis: that balancing act every creature works at every hour of every day-a way of living peacefully, expending the right energy in the most productive ways, avoiding or deflecting trouble, gravitating toward sources of fulfillment and contentment. At the center of this book is a suite of poems inspired by Virgil''s Georgics, or "poems of pastoral instruction." In Rosen''s case, he is more the student than the teacher. Likewise, five short sections of haiku continue his meditation on-or mediation of-art and nature. As he has written, "Haiku provides a brief and mirror-like calm in the choppy waters-in the undertow-of current events: a stillness in time where more than our singular lives can be reflected."  Illustrated with two dozen pages from the author''s own journal, Every Species of Hope is the consummation of decades of observation, humility, and awe.  

In late summer 1953, as he returned to Mexico City after a seven-month expedition through the jungles of Ecuador, Colombia, and Peru, William Burroughs began a notebook of final reflections on his four years in Latin America. His first novel, Junkie, had just been published and he would soon be back in New York to meet Allen Ginsberg and together complete the manuscripts of what became The Yage Letters and Queer. Yet this notebook, the sole survivor from that period, reveals Burroughs not as a writer on the verge of success, but as a man staring down personal catastrophe and visions of looming cultural disaster.Losses that will not let go of him haunt Burroughs throughout the notebook: "Bits of it keep floating back to me like memories of a daytime nightmare." However, out of these dark reflections we see emerge vivid fragments of Burroughs'' fiction and, even more tellingly, unique, primary evidence for the remarkable ways in which his early manuscripts evolved. Assembled in facsimile and transcribed by Geoffrey D. Smith, John M. Bennett, and Burroughs scholar Oliver Harris, the notebook forces us to change the way we see both Burroughs and his writing at a turning point in his literary biography.