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  Vintage Love Stories

  B.L. Aldrich, Kathryn Burns,...

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  A collection of sweet, tender, poetic, beautiful, heart-wrenching, sensual love stories.  
   
  These stories share a common theme of love, set in a time period before cell phones and social media.  
   
  "Second Best", by B. L. Aldrich, performed by Hillary Huber. 1944. The South. Can a heartbroken young woman learn to love again?  
   
  "Didn't It Rain", by Kathryn Burns, performed by Becca Balanger. 1964. Manchester. A teenager realizes her love for music...and for a girl.  
   
  "The Painted World", by Cassandra Campbell, performed by Erin Bennett. It's 1959, New York and Tennessee. Will a young woman choose the life she's meant to live or the life for which she longs?  
   
  "Adele", by Tony Healey, performed by Carol Monda. A couple who's been married for decades. A secret shared. And a love that shows the beauty in supporting a partner when they share their authentic self.  
   
  "Purple Roses", by Christina Thompson, performed by Xe Sands. A quiet farmhouse. A lifetime love, lost. A message sent from beyond that restores faith, hope, and blessings for a new love.  
   
  "She Screams", by Jacob Strunk, performed by J. Rodney Turner. 1940s. A smoky bar. Jazz. Where love and lust seduces like a song.  
   
  "Can't Get Used to Losing You", by K. E. White, performed by Mark Turetsky and Tara Sands. It's the 1980s. First love. Young love. But is it a forever love?  
   
  "To Love Is to Burn", by Amanda R. Woomer, performed by Laura Jennings. 1871, Peshtigo, Wisconsin. A deadly wildfire and the love that rises from the ashes.  
   
  These stories will make you swoon and laugh, cause tears and sighs. The world needs more love, and Vintage Love Stories is excited to share it.

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  Viral Cultures - Activist...

  Marika Cifor

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  Serving as a vital supplement to the existing scholarship on AIDS activism of the 1980s and 1990s, Viral Cultures is the first book to critically examine the archives that have helped preserve and create the legacy of those radical activities. Marika Cifor charts the efforts activists, archivists, and curators have made to document the work of AIDS activism in the United States and the infrastructure developed to maintain it, safeguarding the material for future generations to remember these social movements and to revitalize the epidemic's past in order to remake the present and future of AIDS.Drawing on large institutional archives such as the New York Public Library, as well as those developed by small, community-based organizations, this work of archival ethnography details how contemporary activists, artists, and curators use these records to build on the cultural legacy of AIDS activism to challenge the conditions of injustice that continue to undergird current AIDS crises. Cifor analyzes the various power structures through which these archives are mediated, demonstrating how ideology shapes the nature of archival material and how it is accessed and used. Positioning vital nostalgia as both a critical faculty and a generative practice, this book explores the act of saving this activist past and reanimating it in the digital age.

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  Letters That Moved My Father

  Romayne Kazmer

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  Romayne Kazmer is a world traveler. She attributes her love of travel and curiosity of the world to her year abroad in 1959/60 studying at the University of Fribourg in Switzerland and summer school at the University of Oslo in Norway. She traveled extensively throughout Europe and the Middle East at that time. After returning home to her small town, Glen Ellyn, Illinois, she completed her studies at the University of Colorado. She then moved to New York City with all her life’s belongings. At 23, she was still fascinated by the world she had experienced and wanted to see it all. Taking a leave of absence from her job and with her life’s savings, Romayne traveled around the world alone. It is remarkable that this small town girl shares her insights and memories from the year that changed her life.

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  Artful

  Ali Smith

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  In 2012, Ali Smith delivered the Weidenfeld lectures on European comparative literature at St. Anne’s College, Oxford. Those lectures, presented here, took the shape of discursive stories that refused to be tied down to either fiction or the essay form. Thus, Artful is narrated by a character who is haunted—literally—by a former lover, the writer of a series of lectures about art and literature. A hypnotic dialogue unfolds between storytelling and a meditation on art that encompasses love, grief, memory, and revitalization. Smith’s heady powers as fiction writer harmonize with her keen perceptions as reader and critic to form a living thing that reminds us that art and life are never separate. 
  Artful is a celebration of and meaningful contribution to literature’s enduring worth in the world. There has never been a book quite like it.

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  Someone Has Led This Child to...

  Regina Louise

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  An unforgettable memoir about one woman’s story of overcoming neglect in the U.S. foster-care system and finding her place in the world. 
   
  Drawing on her experience as one of society’s abandoned children, Regina Louise tells how she emerged from the cruel, unjust system, not only to survive, but to flourish . . . 
   
  After years of jumping from one fleeting, often abusive home to the next, Louise meets a counselor named Jeanne Kerr. For the first time in her young life, Louise knows what it means to be seen, wanted, understood, and loved. After Kerr tries unsuccessfully to adopt Louise, the two are ripped apart—seemingly forever—and Louise continues her passage through the cold cinder-block landscape of a broken system, enduring solitary confinement, overmedication, and the actions of adults who seem hell-bent on convincing her that she deserves nothing, that she is nothing. But instead of losing her will to thrive, Louise remains determined to achieve her dream of a higher education. After she ages out of the system, Louise is thrown into adulthood and, haunted by her trauma, struggles to finish school, build a career, and develop relationships. As she puts it, it felt impossible “to understand how to be in the world.” 
   
  Eventually, Louise learns how to confront her past and reflect on her traumas. She starts writing, quite literally, a new future for herself, a new way to be. Louise weaves together raw, sometimes fragmented memories, excerpts from real documents from her case file, and elegant reflections to tell the story of her painful upbringing and what came after. The result is a rich, engrossing account of one abandoned girl’s efforts to find her place in the world, people to love, and people to love her back. 
   
  Praise for Someone Has Led This Child to Believe 
   
  “Regina Louise’s childhood ordeal and quest to find true family are enthralling and ultimately triumphant. I cheered her every step of the way.” —Julia Scheeres, New York Times–bestselling author of Jesus Land 
   
  “Revealing and much needed.” —Booklist 
   
  “Her story had a distinctly raw edge to it, as she chronicled . . . how she was deemed mentally disturbed and incorrigible for wanting what so many children from intact families took for granted, and how she triumphed over unbelievable odds.” —Kirkus Reviews 
   
  “There’s pain and beauty in Louise’s vulnerability and her willingness to evict personal experience from the singular realm of self and take it into the world.” —Foreword Reviews

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  Friends Disappear - The Battle...

  Mary Barr

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  A sociologist returns to her suburban Illinois hometown to compare the paths of black and white childhood friends in a “fascinating” mix of study and memoir (Chicago Tribune). 
   
  Mary Barr thinks a lot about the old photograph on her refrigerator door. In it, she and a dozen or so friends from the Chicago suburb of Evanston sit on a porch. It’s 1974, the summer after they graduated from Nichols Middle School, and what strikes her immediately—aside from the Soul Train–era clothes—is the diversity of the group: boys and girls, black and white, in the variety of poses you’d expect from a bunch of friends on the verge of high school. But the photo also speaks to the history of Evanston, to integration, and to the ways that those in the picture experienced and remembered growing up in a place that many at that time considered to be a racial utopia. 
   
  In Friends Disappear, Barr goes back to her old neighborhood and pieces together a history of Evanston with a particular emphasis on its neighborhoods, its schools, and its work life. She finds that there is a detrimental myth of integration surrounding Evanston despite bountiful evidence of actual segregation, both in the archives and from the life stories of her subjects. Curiously, the city’s own desegregation plan is partly to blame. The initiative called for the redistribution of students from an all-black elementary school to institutions situated in white neighborhoods. That, however, required busing, and between the tensions it generated and obvious markers of class difference, the racial divide, far from being closed, was widened. Friends Disappear highlights how racial divides limited the life chances of blacks while providing opportunities for whites, and offers an insider’s perspective on the social practices that doled out benefits and penalties based on race—despite attempts to integrate. 
   
  “Barr’s gripping exploration of the divergent paths friends took away from a childhood snapshot combines the rigor of scholarship with the personal touch of memoir. I have rarely read a book that so effectively illustrates the persistence of racial disparities in the United States with unforgettable, wrenching life stories.” —Amanda Seligman, University of Wisconsin-Milwaukee 
   
  Honorable Mention, Midwest Sociological Society Distinguished Book Award

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