The Accomplisht Cook was first published in 1660 and this is a facsimile of the 1685 edition. Robert May was cook to the aristocracy of Royalist England; born in the year of the Armada; trained by his own father, then by powerful patrons in Paris; before apprenticeship in London with the cook to the Star Chamber. In the course of a long life, working almost exclusively for fellow Catholics and Royalists, he absorbed all the most fashionable tendencies at large in the kitchens of England. 'By its sheer size and comprehensive scope Robert May's book eclipsed its predecessors,' writes Alan Davidson in his foreword. Here is the most complete portrait of English cooking as it was when Charles II was restored to the throne, as well as before 'the unhappy and cruel disturbances' of the Civil War, in 'those golden days of peace and hospitality,' as the author puts it, 'when you enjoyed your own.' This edition has an excellent biographical introduction by Marcus Bell, revealing new facts about Robert May's life, a graceful foreword by Alan Davidson and a full glossary of contemporary terms. This new reprint of Prospect's edition of 2000 is part of the series 'The English Kitchen' and sits alongside and in similar format to other works, ancient and modern, on the history of English cookery.

In Whiteness Interrupted Marcus Bell presents a revealing portrait of white teachers in majority-black schools in which he examines the limitations of understandings of how white racial identity is formed. Through in-depth interviews with dozens of white teachers from a racially segregated, urban school district in Upstate New York, Bell outlines how whiteness is constructed based on localized interactions and takes a different form in predominantly black spaces. He finds that in response to racial stress in a difficult teaching environment, white teachers conceptualized whiteness as a stigmatized category predicated on white victimization. When discussing race outside majority-black spaces, Bell's subjects characterized American society as postracial, in which race seldom affects outcomes. Conversely, in discussing their experiences within predominantly black spaces, they rejected the idea of white privilege, often angrily, and instead focused on what they saw as the racial privilege of blackness. Throughout, Bell underscores the significance of white victimization narratives in black spaces and their repercussions as the United States becomes a majority-minority society.

In Whiteness Interrupted Marcus Bell presents a revealing portrait of white teachers in majority-black schools in which he examines the limitations of understandings of how white racial identity is formed. Through in-depth interviews with dozens of white teachers from a racially segregated, urban school district in Upstate New York, Bell outlines how whiteness is constructed based on localized interactions and takes a different form in predominantly black spaces. He finds that in response to racial stress in a difficult teaching environment, white teachers conceptualized whiteness as a stigmatized category predicated on white victimization. When discussing race outside majority-black spaces, Bell's subjects characterized American society as postracial, in which race seldom affects outcomes. Conversely, in discussing their experiences within predominantly black spaces, they rejected the idea of white privilege, often angrily, and instead focused on what they saw as the racial privilege of blackness. Throughout, Bell underscores the significance of white victimization narratives in black spaces and their repercussions as the United States becomes a majority-minority society.

Giorno first rose to fame in New York in the early 1960s as the star of Warhol's Sleep. Associated with key 1960s avant garde figures such as Ginsberg, Burroughs, Rauschenberg, and Johns, Giorno was an early pioneer of multimedia poetry through Giorno Poetry Systems, which also distributed a who's who of the American underground from Patti Smith to Sonic Youth. Giorno's use of transgressive material and in-your-face amplified delivery was also a key influence on punk/new wave pioneers such as Suicide, Throbbing Gristle, and Black Flag. Not just a poet but a sexual, spiritual, and political radical, Giorno helped pioneer the open celebration of queer sexuality in poetry in the 1960s. His AIDS Treatment Project, begun in 1984, set the bar for action in the AIDS crisis. Subduing Demons in America offers the best of Giorno's revolutionary poetry, from his striking Pop Art-influenced poems of the 1960s to the psychedelic, echo-laden, multitracked cut-ups of the 1970s with their explosive configurations of queer sex, spiritual practice, and the bohemian Good Life. Also here are the pared-down punk/hip-hop performance poems that Giorno performed in the 1980s.