Aaron Samuels, raised in Providence, Rhode Island by a Jewish mother and a Black father, is a Cave Canem Fellow and a nationally acclaimed performer. In this ground-breaking collection of poems, Samuels examines the beauty and contradictions of his own mixed identity with gut-wrenching narratives, humor, and passionate verve.

As the country grows increasingly diverse and complicated, Americans seek, and occasionally find, a common thread to unite them. And, as Jim Lilliefors reveals in his new book, that common thread is what the baseball cap is made of — indeed, what has transformed it into America’s National Hat. As fads go, it’s no longer even a fad, but a part of the national identity that, for better or worse, is a symbol of America. It feeds an illusion that Americans cherish — that despite their differences, and no matter what position they play — when wearing a baseball cap, they’re all part of the same team. Exploring every aspect of caps and their culture — including the history, manufacturing, and evolution of baseball caps; collecting and caring for caps; cap etiquette; and even cap urban legends — and packed with photos throughout, Ball Cap Nation is a delightful look at a uniquely American phenomenon.

Our Poison Horse is the newest poetry collection released by Derrick C. Brown. Brown is the winner of the Texas Book of The Year Prize, 2013. The New York Times calls his work a "...rekindling of the faith in the shocking, weird and beautiful power of words." Brown finally sold the ship, The Sea Section, upon which he lived for years in the Long Beach harbor, after which he took to hunting for a city that was affordable and had a bustling writer's community. He landed in Austin, Texas and when the progress of that town got to be intense, he moved to the nearby countryside in Elgin, Texas, and from that pastoral setting came unfurling this new collection of his most personal work to date. Brown has been known as one of the most touring, well travelled living poets in America. He has based his whole writing career on changing peoples minds about poetry and he feels a quality, unforgettable live experience can achieve that. Brown told himself he needed a 10-year hiatus from writing poetry when he felt the well of creativity had dried up. 2 years ago, he wrote a one-hour long 'poetic play' called Strange Light, commissioned by The Noord Nederlands Dans Group in Holland. The piece was performed by 14 dancers and accompanied by a live orchestra using music composed by fellow Americans, Emily Wells and Timmy Straw. While he was working on a new libretto for Wayne State University in Detroit, he was set up in a seemingly pastoral country setting, where, as Brown says, "an incredible war broke out inside and out, such bright, massive storms, snakes, guns, howling wind, hard sun: all kinds of poems gushed forth. I gave in to the process and my best work to date was born, this will be my 5th book." Our Poison Horse touches on more autobiography than the romantic and fantastical that was so present in his past work. In Derrick Brown's words: "I found a poetry in the real events that shaped or broke me. Every morning, I would quiet down, stare out into the field where we were watching our neighbors horse, a horse that was poisoned with pesticide by some local boys, a horse with massive scars all down its body from it's skin peeling from the poison sprayed upon it maliciously by some bastard kids. I watched the horse heal and finally come to me, and trust me and eat carrots. Something about that horse, Lacey, about it not trusting me and then warming up pulled something out of me that I didn't know I was ready for. There is a theme that in beautiful places, you will

This is an account of an ethnically and racially diverse classroom of funny, endearing, and often poignant six-year-olds in a Seattle inner-city elementary school. The author, their volunteer literary coach, describes the classroom, their heroic teacher, a number of clever teaching modules, and the evolution of this school toward excellence. The children’s confidences, essays, and poetry sparkle with humor, and the unexpected viewpoints of childhood. Eight captivating students are profiled and featured for us in line drawing illustrations. In the final chapters some startling school district data is introduced as well as three common-sense recommendations to give all kids a fair chance in school. Having learned so much about the realities of public elementary education in her five years in the classroom, the author wanted to share the good news of what is possible with others who might otherwise view this as a grim subject.

An acclaimed short-story writer has created a miraculous first novel about an American family on the verge of a breakdown–and an epiphany. In the summer of 2000, Israel teeters between total war and total peace. Similarly on edge, Helen Michaelson, a respectable suburban housewife from Michigan, has brought her ailing husband and rebellious college-age son, Jeremy, to Jerusalem. She hopes the journey will inspire Jeremy to reconnect with his faith and find meaning in his life . . . or at least get rid of his nose ring. It’s not that Helen is concerned about Jeremy’s sexual orientation (after all, her other son is gay as well). It’s merely the matter of the overdose (“Just like Liza!” Jeremy had told her), the green hair, and what looks like a safety pin stuck through his face. After therapy, unconditional love, and tough love . . . why not try Israel? Yet in seductive and dangerous surroundings, with the rumbling of violence and change in the air, in a part of the world where “there are no modern times,” mother and son become new, old, and surprising versions of themselves. Funny, erotic, searingly insightful, and profoundly moving, Faith for Beginners is a stunning debut novel from a vibrant new voice in fiction.

Most fans don’t know how far the Jewish presence in baseball extends beyond a few famous players such as Greenberg, Rosen, Koufax, Holtzman, Green, Ausmus, Youkilis, Braun, and Kinsler. In fact, that presence extends to the baseball commissioner Bud Selig, labor leaders Marvin Miller and Don Fehr, owners Jerry Reinsdorf and Stuart Sternberg, officials Theo Epstein and Mark Shapiro, sportswriters Murray Chass, Ross Newhan, Ira Berkow, and Roger Kahn, and even famous Jewish baseball fans like Alan Dershowitz and Barney Frank. The life stories of these and many others, on and off the field, have been compiled from nearly fifty in-depth interviews and arranged by decade in this edifying and entertaining work of oral and cultural history. In American Jews and America’s Game each person talks about growing up Jewish and dealing with Jewish identity, assimilation, intermarriage, future viability, religious observance, anti-Semitism, and Israel. Each tells about being in the midst of the colorful pantheon of players who, over the past seventy-five years or more, have made baseball what it is. Their stories tell, as no previous book has, the history of the larger-than-life role of Jews in America’s pastime.

Anthropomorphizing the Cosmos explores the sociocultural significance of more than three hundred Middle Preclassic Maya figurines uncovered at the site of Nixtun-Ch'ich' on Lake Petén Itzá in northern Guatemala. In this careful, holistic, and detailed analysis of the Petén lakes figurines—hand-modeled, terracotta anthropomorphic fragments, animal figures, and musical instruments such as whistles and ocarinas—Prudence M. Rice engages with a broad swath of theory and comparative data on Maya ritual practice. Presenting original data, Anthropomorphizing the Cosmos offers insight into the synchronous appearance of fired-clay figurines with the emergence of societal complexity in and beyond Mesoamerica. Rice situates these Preclassic Maya figurines in the broader context of Mesoamerican human figural representation, identifies possible connections between anthropomorphic figurine heads and the origins of calendrics and other writing in Mesoamerica, and examines the role of anthropomorphic figurines and zoomorphic musical instruments in Preclassic Maya ritual. The volume shows how community rituals involving the figurines helped to mitigate the uncertainties of societal transitions, including the beginnings of settled agricultural life, the emergence of social differentiation and inequalities, and the centralization of political power and decision-making in the Petén lowlands. Literature on Maya ritual, cosmology, and specialized artifacts has traditionally focused on the Classic period, with little research centering on the very beginnings of Maya sociopolitical organization and ideological beliefs in the Middle Preclassic. Anthropomorphizing the Cosmos is a welcome contribution to the understanding of the earliest Maya and will be significant to Mayanists and Mesoamericanists as well as nonspecialists with interest in these early figurines

Esther Amini grew up in Queens, New York, during the free-wheeling 1960s. She also grew up in a Persian-Jewish household, the American- born daughter of parents who had fled Mashhad, Iran. In CONCEALED she tells the story of being caught between these two worlds: the dutiful daughter of tradition-bound parents who hungers for more self-determination than tradition allows. Exploring the roots of her father's deep silences and explosive temper, her mother's flamboyance and flights from home, and her own sense of indebtedness to her two Iranian-born brothers, Amini uncovers the story of her parents' early years in Mashhad, Iran's holiest Muslim city; the little known history and persecution of Mashhad's underground Jews; the incident that steeled her mother's resolve to leave; and her parents' arduous journey to the United States, where they found themselves facing a new threat to their traditions: the threat of freedom. Determined to protect his only daughter from corruption, Amini's father prohibits talk, books, higher education, and tries to push her into an early Persian marriage. Can she resist? Should she? Focused intently on what she stands to gain, Amini eventually comes to see what she also stands to lose: a family and community bound together by food, celebrations, sibling escapades, and unexpected acts of devotion by parents to whom she feels invisible. In this poignant, funny, entertaining and uplifting memoir, Amini documents with keen eye, quick wit, and warm heart, how family members build, buoy, wound, and save one another across generations; how lives are shaped by the demands and burdens of loyalty and legacy; and how she rose to the challenge of deciding what to keep and what to discard.