When Sunni Patterson asserts that We Know This Place, she means every word. Should we break it down further? WE, the poet's collective, live in the sovereign wisdom of KNOWing THIS PLACE: post-Katrina New Orleans, where the poet's activism converges with her joyous celebration and impelling interrogations of class, gender, race, and place. In this collection, Sunni Patterson renews the timeless work of poetry, summoning all who are ready to listen up.

A collection of life-affirming verses, inspired by the events of September 11, 2001, includes poems paired with artwork volunteered by such well-known picture book artists as G. Brian Karas, Keven Hawkes, and Giselle Potter.

A child describes a place where all the rooms have warmth, comfort, and love, and it turns out to be home.

A collection of the best from Hoosier poets from the days of James Whitcomb Riley and Jessamyn West to such contemporary masters of the craft as former Indiana Poet Laureate Norbert Krapf, Jared Carter, Etheridge Knight, and Mary Ellen Solt. As Kander and Greer not in the preface of "And Know this Place: Poetry of Indiana:" "Our central criterion for selection was quality of writing, and we chose those poems which cover the spectrum of experience in both place and time, in setting from city streets to wilderness tracks, covering the state from Goshen in the north to Floye's Knobs by the Ohio River, and from Gessie on the Illinois line to Cottage Grove a hundred and fifty miles east."

White evangelicals have struggled to understand or enter into modern conversations on race and racism, because their inherited and imagined world has not prepared them for this moment. American Southerners, in particular, carry additional obstacles to such conversations, because their regional identity is woven together with the values and histories of white evangelicalism. In Know Your Place, Justin Phillips examines the three community loyalties (white, southern, and evangelical) that shaped his racial imagination. Phillips examines how each community creates blind spots that overlap with the others, insulating the individual from alternative narratives, making it difficult to conceive of a world different than the dominant white evangelical world of the South. When their world is challenged or rejected outright, it can feel like nothing short of the end of the world. Blending together personal experiences with ethics and pastoral sensibilities, Phillips traces for white, southern evangelicals a line running from the past through the present, to help his beloved communities see how their loyalties—their stories, histories, and beliefs—have harmed their neighbors. In order to truly love, repair, and reconcile brokenness, you first have to know your place.

The work of this institution has only begun.... I want to see this faculty continue to develop in not only teaching ability, but heart power—the ability to lead and inspire.... I want to see the fullest opportunities furnished to students.... I want to see young men and women who will become effective leaders.... I want to see all of these things and more.—John W. Carr, first president of Murray State University, April 1, 1926 When Murray State University was founded shortly after World War I, it was a modest, one-building teachers college with a mandate to prepare better-trained educators for schools in the Jackson Purchase area of western Kentucky. Now Murray State has grown to become a major university with nearly 10,000 students from all over the world. Over the past century, this institution has indelibly shaped the lives of generations of talented young people, some of whom went on to enjoy remarkable careers at NASA, on the Kentucky Supreme Court, in Hollywood, and with the NBA. In The Finest Place We Know, authors Robert L Jackson, Sean J. McLaughlin, and Sarah Marie Owens celebrate the one-hundred-year story of Murray State University by looking back on the people, places, and events that have shaped the institution's history. This comprehensive pictorial history features hundreds of images from the Pogue Special Collections Library as well as stories that explore everything from the school's first student-produced weekly newspaper, The College News, which began publication on June 24, 1927; to the hiring of Ernest T. Brooks, its first Black professor, in 1970; to the appointment of Dr. Kala Stroup, the first woman president of any Kentucky university. This work—equal parts history and celebration—presents an in-depth account of one of Kentucky's prosperous public universities.