Text by David Scheinbaum, Malin Wilson, Amy Conger, Christopher Rocca, Jeanne Adams, Milton Esterow, Diana Edkins, Carl Chiarenza, Stuart Ashman, Elizabeth Glassman, Bill Jay.

The Beer and Food Companion is set to become a classic reference for anyone wishing to pair beer and food, to cook with beer or to discover the delights of both the traditional and modern art of the beer sommelier. Beer has been drunk with food for thousands of years yet only now is it being appreciated as the perfect companion to food. It is even better than wine for pairing with cheese, for example. Tracing the history of beer and food matching, this book educates your palate to recognise the characteristics of a flavoursome beer, with delicious recipes that allow you to cook, pair and appreciate your ale at a whole new level. Profiles of key chefs, restaurateurs, beer experts, beer sommeliers and cicerones from around the world zone in on the new and exciting world of beer and food matching, including London pub The Bull, Restobières in Brussels and Higgins Restaurant in Portland, Oregon. Charts for Beer & Food and Food & Beer pairing provide at-a-glance perfect matches for easy reference when you are sourcing beer. With expert knowledge on the art of marrying flavour and cooking with beer you will quickly come to recognise the rich and rewarding combination of porter and chocolate desserts, the delicate counterbalance of a wheat beer with seafood, or the pleasing combination of a hoppy pale ale with a mild curry.

Oprah Winfrey has spent her life trying to make peace with food, which has been such a source of pleasure and meaning for her. Now Oprah has found ways to have her favorite meals while also controlling her weight, and in Food, Health and Happiness she shares not only her struggles with food but also the recipes that have allowed food to be a source of joy for her again. With help from the chefs who have cooked for her over the years such as Rosie Daley, Art Smith, Mei Lin, Taryn Huebner, and Sonny Sweetman, this is an extraordinarily personal cookbook while also being an invitation to Oprah's many fans to eat both healthfully and happily. From simple pleasures such as 'Unfried Chicken' or 'Turkey Chili' to such celebrations of freshness as 'Farro With Peas, Asparagus, Pesto and Cured Olives' and 'Chilean Sea Bass with Lemon Fennel Chutney,' this is food as it should be: a source of happiness, a ritual to be shared, a celebration of life.

Reassessing the archive of the Black Hawk War, The Corpse in the Kitchen explores relationships between the enclosure of Indigenous land, histories of resource extraction, and the literary culture of settler colonialism. While conventional histories of the Black Hawk War have long treated the conflict as gratuitous, Adam John Waterman argues that the war part of a struggle over the dispensation of mineral resources specifically, mineral lead—and the emergence of new cultures of killing and composition. The elemental basis for the fabrication of bullets, lead drawn from the mines of the upper Mississippi, contributed to the dispossession of Indigenous peoples through the consolidation of U.S. control over a vital military resource. Rendered as metallic type, Mississippian lead contributed to the expansion of print culture, providing the occasion for literary justifications of settler violence, and promulgating the fiction of Indigenous disappearance. Treating the theft and excarnation of Black Hawk’s corpse as coextensive with processes of mineral extraction, Waterman explores ecologies of racial capitalism as forms of inscription, documentary traces written into the land. Reading the terrestrial in relation to more conventional literary forms, he explores the settler fetishization of Black Hawk’s body, drawing out homoerotic longings that suffuse representations of the man and his comrades. Moving from print to agriculture as modes of inscription, Waterman looks to the role of commodity agriculture in composing a history of settler rapine, including literal and metaphoric legacies of anthropophagy. Traversing mouth and stomach, he concludes by contrasting forms of settler medicine with Black Hawk’s account of medicine as an embodied practice, understood in relation to accounts of dreaming and mourning, processes that are unforgivably slow and that allow time for the imagination of other futures, other ways of being.