- For nearly ten years, John Griswold has been publishing his essays in Inside Higher Ed, McSweeney’s Internet Tendency, Brevity, Ninth Letter, and Adjunct Advocate, many under the pen name Oronte Churm. His new book, PIRATES YOU DON’T KNOW AND OTHER ADVENTURES IN THE EXAMINED LIFE is a funny, poignant, bittersweet, and sometimes snarky account of everything ranging from creative writing to babies, and from race issues in a university town to crocodiles.
- Leslie M. Harris and Daina Ramey Berry’s SLAVERY AND FREEDOM IN SAVANNAH is a richly illustrated, accessibly written book modeled on the very successful SLAVERY IN NEW YORK, a volume Harris coedited with Ira Berlin.
- BREAKING GROUND by Dr. Louis W. Sullivan with David Chanoff and featuring a foreword by Ambassador Andrew Young is the compelling life’s story of a towering champion of higher education, medicine, and accessible health care for all. Sullivan was Health and Human Services secretary during the George H. W. Bush administration, and, during that time, he made efforts to push through comprehensive health care reform decades before the Affordable Care Act (ACA).
- Kate Sweeney’s AMERICAN AFTERLIFE is not a grief handbook, comprehensive history, or survey of all death practices in America today. Instead, AMERICAN AFTERLIFE relates the odd, tragic, poignant, and at times even humorous stories of how we “do” death today, in a time and place when there is no one right way to do it.
- Perhaps the most famous nineteenth-century American that almost no one has heard of, Civil War corporal James Tanner fought at the Second Battle at Manassas, was injured, and lost both of his legs above the knees. He later served as stenographer at Abraham Lincoln's deathbed. AMERICA'S CORPORAL by James Marten is both a biography of James Tanner, as well as a historiography of the Civil War.
- The first in the new The South on Screen series, Tison Pugh’s TRUMAN CAPOTE reveals Capote’s literary works to be not merely coincident to film but integral to their mutual creation, paying keen attention to the ways in which Capote’s identity as a gay southerner influenced his and others’ perceptions of his literature and its adaptations.