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He steps into view on a day so warm that the pines ooze resin and the forest is thick with its vapors -- a scraggly-bearded drifter, oddly dressed and toting canvas rolls in a quiver. When he stops at a cabin to sketch, it seems an unpromising intrusion -- the man there has recently lost his wife, and the boy his mother. But the drifter has a way with the child and brings an eerie sort of talent to the easel. As he camps in the yard a treasure of fantastical paintings begins to fill the household.

1960s Omaha teems with the brood of the Catholic city, families bred to pack pews, to turn elections, to fill battalions. Wesley Grassford rides to school in a Stingray bicycle gang, feeds the dog, and plays maul-the-man, kids swarming and grappling for a worn leather football until the church bells ring six o'clock and time for dinner. Unknown to the boy, or to the larger community, a group of local men are slipping into a private and unspoken pathology. Their sleeps are barren and dreamless, their outlooks listless and lethargic. Many slip quietly into coma. 2020s America trades in the...

A book of folk building in Texas, that ranges across the state in word and photograph. It explores the pine buildings of settlers in East Texas, those of oak in the Western Cross Timbers, and the rock homes of European migrants into Central Texas. West Texans of the Pecos, who had neither rocks nor logs to build with, mixed mud and grass, made adobe brick, and built in traditions borrowed from the Mexican-Indian population already settled there. These were the folk, building out of the environment, wasting nothing, building forms to suit their needs. Germans, Poles, Norse, and Alsatians...