Born in Ponca City, Oklahoma, Bob Camblin (1928-2010) was an artist, first and foremost. He earned his BFA and MFA degrees from the Kansas City Art Institute. His studies were followed by a Fulbright Fellowship that allowed him a year’s stay in Italy. Returning to the USA, he held teaching positions at the Ringling Museum, the University of Illinois, Detroit Mercy, and the University of Utah before moving to Houston in 1967 to teach at Rice’s new art department. He was active in Houston during the late 1960s through the 1980s, collaborating with Earl Staley and Joe Tate on many projects, including “happenings” on the beach in Galveston. His career led him to creative undertakings all over the world. Throughout his lifetime he constantly experimented with various art media. He remained open to new ideas and new techniques until his death in Louisiana in 2010. Camblin was a central figure in the period of artistic fermentation in Houston that is now beginning to receive increasing critical attention. He chose Rowland to be his historian while still at Rice, and her insights into him are based on many personal letters and conversations. In addition, she is a trained art historian and …

“There are some poets we admire for a mastery that allows them to tell a story, express an epiphany, form a conclusion, all gracefully and even memorably— yet language in some way remains external to them. But there are other poets in whom language seems to arise spontaneously, fulfilling a design in which the poet’s intention feels secondary. Books by these poets we read with a gathering sense of excitement and recognition at the linguistic web being drawn deliberately tighter around a nucleus of human experience that is both familiar and completely new, until at last it seems no phrase is misplaced and no word lacks its resonance with what has come before. Such a book is Austin Segrest’s Door to Remain.”— Karl Kirchwey, author of Poems of Rome and judge

Book is a collection of poems that won our annual Vassar Miller Prize in Poetry. Themes include exile from one's native country and sexual identity

“There are some poets we admire for a mastery that allows them to tell a story, express an epiphany, form a conclusion, all gracefully and even memorably— yet language in some way remains external to them. But there are other poets in whom language seems to arise spontaneously, fulfilling a design in which the poet’s intention feels secondary. Books by these poets we read with a gathering sense of excitement and recognition at the linguistic web being drawn deliberately tighter around a nucleus of human experience that is both familiar and completely new, until at last it seems no phrase is misplaced and no word lacks its resonance with what has come before. Such a book is Austin Segrest’s Door to Remain.”— Karl Kirchwey, author of Poems of Rome and judge

In poems that celebrate survival and renewal, Ernest Hilbert summons the ageless conflict between human affection and the passing of time, recognizing that all we love must eventually disappear. Tender poems of fatherhood weigh against unsettling explorations of natural dangers and intimations of bodily harm. From porn sets to seedy gun ranges and heavy metal tribute nights in crumbling theaters, Hilbert’s eye roves over the desolation and beauty of contemporary America, all the while feeling the irresistible pull of water—what Melville called “the ungraspable phantom of life.”

They Kept Running takes its title from a story about three women running in a national park in the Arizona desert, where they are warned to watch out for mountain lions and the heat, but where the real threat they encounter is men in a jeep. This collection of fifty-seven small stories catalogs the lives of women and girls as they grapple with the hazards of navigating the human world. “In this taut collection of flash fiction, Michelle Ross weaves together fairy tales and horror, beauty and the grotesque, to inhabit the intersections of gender, sexuality, violence, and romantic love. Each story draws the reader into a sharply etched world studded with tension. A seemingly safe domestic life turns, just slightly to reveal its hidden dangers. For the girl and woman characters at the center of this book, the call is often coming from inside the house, and Ross is unafraid to look directly at what lurks on the other end of the line.”—Meagan Cass, author of ActivAmerica and judge

An elite team of reporters brought the Great War home each week to ten million readers of The Saturday Evening Post. As America’s largest circulation magazine, the Post hired the nation’s best-known and best-paid writers to cover World War I. The Weekly War provides a history of the unique record Post storytellers created of World War I, the distinct imprint the Post made on the field of war reporting, and the ways in which Americans witnessed their first world war. The Weekly War includes representative articles from across the span of the conflict, and Chris Dubbs and Carolyn Edy complement these works with essays about the history and significance of the magazine, the war, and the writers. By the start of the Great War, The Saturday Evening Post had become the most successful and influential magazine in the United States, a source of entertainment, instruction, and news, as well as a shared experience. World War I served as a four-year experiment in how to report a modern war. The news-gathering strategies and news-controlling practices developed in this war were largely duplicated in World War II and later wars. Over the course of some thousand articles by some of the most …