A series of extraordinary explorations of the biographies and literary achievements of twelve modern women writers, Passionate Minds tells the stories of women who "rewrote" the world that they inherited, shaping beliefs about vital issues ranging from religion to sex to race to politics. Claudia Roth Pierpont organizes these probing portraits into three sections. Broadly speaking, the first deals with issues of sexual freedom, in essays on Olive Schreiner, Gertrude Stein, Anaïs Nin, and—surprisingly, for those who do not know her as a writer—Mae West. The second section, which examines Margaret Mitchell, Zora Neale Hurston, and Eudora Welty, deals with issues of race and the American South during a period of wrenching change and retrenchment. The third focuses on politics, particularly on the experience and historical interpretation of Soviet Communism and Nazi Germany: the Russian poet Marina Tsvetaeva, Ayn Rand, Doris Lessing, and, in a dual essay that is also a moving account of an enduring friendship, Hannah Arendt and Mary McCarthy.

Throughout, Pierpont anatomizes both the lives and the art of her subjects and suggests their roles in the progress—if it has been progress—that has taken place in the attitudes of women over the course of the century. Individually published in The New Yorker during the past eight years, these essays—brought together in revised and expanded form, and containing ample new material—reveal unsuspected parallels, contrasts, and influences among the twelve women discussed, illuminating each of them in new and startling ways.

In When Blackness Rhymes with Blackness, Rowan Ricardo Phillips pushes African American poetry to its limits by unraveling "our desire to think of African American poetry as African American poetry." Phillips reads African American poetry as inherently allegorical and thus "a successful shorthand for the survival of a poetry but unsuccessful shorthand for the sustenance of its poems." Arguing in favor of the "counterintuitive imagination," Phillips demonstrates how these poems tend to refuse their logical insertion into a larger vision and instead dwell indefinitely at the crux between poetry and race, "where, when blackness rhymes with blackness, it is left for us to determine whether this juxtaposition contains a vital difference or is just mere repetition."

A poignant and terse vision of New York City unfolds in Rowan Ricardo Phillips’s debut book of poetry. A work of rare beauty and grace, The Ground is an entire world, drawn and revealed through contemplation of the post-9/11 landscape. With musicality and precision of thought, Phillips’s poems limn the troubadour’s journey in an increasingly surreal modern world (“I plugged my poem into a manhole cover / That flamed into the first guitar”). The origin of mankind, the origin of the self, the self’s development in the sensuous world, and—in both a literal and a figurative sense—the end of all things sing through Phillips’s supple and idiosyncratic poems. The poet’s subtle formal sophistication—somewhere between flair and restraint—and sense of lyric possibility bring together the hard glint of the contemporary world and the eroded permanence of the archaic one through remixes, underground sessions, Spenserian stanzas, myths, and revamped translations. These are poems of fiery intelligence, inescapable music, and metaphysical splendor that concern themselves with lived life and the life of the imagination—both equally vivid and true—as they lay the framework for Phillips’s meditations on our connection to and estrangement from the natural world.

From Andrew X. Pham, the award-winning author of Catfish and Mandala, comes a son’s searing memoir of his Vietnamese father’s experiences over the course of three wars. Once wealthy landowners, Thong Van Pham’s family was shattered by the tumultuous events of the twentieth century: the festering French occupation of Indochina, the Japanese invasion during World War II, and the Vietnam War. Told in dazzling chapters that alternate between events in the past and those closer to the present, The Eaves of Heaven brilliantly re-creates the trials of everyday life in Vietnam as endured by one man, from the fall of Hanoi and the collapse of French colonialism to the frenzied evacuation of Saigon. Pham offers a rare portal into a lost world as he chronicles Thong Van Pham’s heartbreaks, triumphs, and bizarre reversals of fortune, whether as a South Vietnamese soldier pinned down by enemy fire, a prisoner of the North Vietnamese under brutal interrogation, or a refugee desperately trying to escape Vietnam after the last American helicopter has abandoned Saigon. This is the story of a man caught in the maelstrom of twentieth-century politics, a gripping memoir told with the urgency of a wartime dispatch by a writer of surpassing talent.

Catfish and Mandala is the story of an American odyssey—a solo bicycle voyage around the Pacific Rim to Vietnam—made by a young Vietnamese-American man in pursuit of both his adopted homeland and his forsaken fatherland. Andrew X. Pham was born in Vietnam and raised in California. His father had been a POW of the Vietcong; his family came to America as "boat people." Following the suicide of his sister, Pham quit his job, sold all of his possessions, and embarked on a year-long bicycle journey that took him through the Mexican desert, around a thousand-mile loop from Narita to Kyoto in Japan; and, after five months and 2,357 miles, to Saigon, where he finds "nothing familiar in the bombed-out darkness." In Vietnam, he's taken for Japanese or Korean by his countrymen, except, of course, by his relatives, who doubt that as a Vietnamese he has the stamina to complete his journey ("Only Westerners can do it"); and in the United States he's considered anything but American. A vibrant, picaresque memoir written with narrative flair and an eye-opening sense of adventure, Catfish and Mandala is an unforgettable search for cultural identity.

A canyon earmarked for development as a golf resort. One last hunting trip in a vanishing wilderness. A grandfather, a son, and a grandson—plus one angry bear. Over the course of the weekend, each man will change in sharply contrasting ways.

They live among us. They are our neighbors, our mothers, our lovers. They change. When government agents kick down Claire Forrester's front door and murder her parents, Claire realizes just how different she is. Patrick Gamble was nothing special until the day he got on a plane and hours later stepped off it, the only passenger left alive, a hero. Chase Williams has sworn to protect the people of the United States from the menace in their midst, but he is becoming the very thing he has promised to destroy. So far, the threat has been controlled by laws and violence and drugs. But the night of the red moon is coming, when an unrecognizable world will emerge . . . and the battle for humanity will begin.

In The Oval Hour Kathleen Peirce addresses the vulnerability of language—which is to say the vulnerability of our reality—when we are in extreme states of desire and loss, especially erotic desire and erotic loss. Central to the book is its series of "Confessions, " twenty formally similar poems that contend with the Confessions of Saint Augustine. "Passing through innocence, I came either to experience / or guilt, or they came to me, displacing innocence." These luminous poems explore the generation and overlapping of carnal and metaphysical identities.

Of this book, the poet Jean Valentine has written: "Startling in their mystery, these poems are entirely original: abstract and passionate, sensual and otherworldly, trance-like and exciting. They are told through a 'we,' perhaps all of us human beings, remembering; yet strangely, too, each of us experiencing everything alone. The Ardors is a book that takes us beyond ourselves, beyond our workaday bodies and souls."

Luisa Cantu is a girl from a Sierra Madre mountain village. After being impregnated in a fertility ritual of ancient origin, she leaves Mexico to work in the Rio Grande Valley of Texas as a housemaid for Mrs. Eddie Hatch, a woman with a strong will and a narrow worldview. Their complex relationship—by turns mystical and pragmatic, serious and comic—reveals the many ways human beings can wound one another, the nautre of love and sacrifice, and the possibility of forgiveness. The River Beyond the World is a 1996 National Book Award Finalist for Fiction.