November 29th, 2009

Thomas L. Friedman’s phenomenal number-one bestseller The World Is Flat has helped millions of readers to see the world in a new way. In his brilliant, essential new book, Friedman takes a fresh and provocative look at two of the biggest challenges we face today: America’s surprising loss of focus and national purpose since 9/11; and the global environmental crisis, which is affecting everything from food to fuel to forests. In this groundbreaking account of where we stand now, he shows us how the solutions to these two big problems are linked--how we can restore the world and revive America at the same time.

Friedman explains how global warming, rapidly growing populations, and the astonishing expansion of the world’s middle class through globalization have produced a planet that is “hot, flat, and crowded.” Already the earth is being affected in ways that threaten to make it dangerously unstable. In just a few years, it will be too late to fix things--unless the United States steps up now and takes the lead in a worldwide effort to replace our wasteful, inefficient energy practices with a strategy for clean energy, energy efficiency, and conservation that Friedman calls Code Green.

This is a great challenge, Friedman explains, but also a great opportunity, and one that America cannot afford to miss. Not only is American leadership the key to the healing of the earth; it is also our best strategy for the renewal of America.

In vivid, entertaining chapters, Friedman makes it clear that the green revolution we need is like no revolution the world has seen. It will be the biggest innovation project in American history; it will be hard, not easy; and it will change everything from what you put into your car to what you see on your electric bill. But the payoff for America will be more than just cleaner air. It will inspire Americans to something we haven’t seen in a long time--nation-building in America--by summoning the intelligence, creativity, boldness, and concern for the common good that are our nation’s greatest natural resources.

Hot, Flat, and Crowded is classic Thomas L. Friedman: fearless, incisive, forward-looking, and rich in surprising common sense about the challenge--and the promise--of the future.

In the early twentieth century, an exuberant brand of gifted men and women moved to New York City, not to get rich but to participate in a cultural revolution. For them, the city's immigrant neighborhoods--home to art, poetry, cafes, and cabarets in the European tradition--provided a place where the fancies and forms of a new America could be tested. Some called themselves Bohemians, some members of the avant-garde, but all took pleasure in the exotic, new, and forbidden.

In "American Moderns," Christine Stansell tells the story of the most famous of these neighborhoods, Greenwich Village, which--thanks to cultural icons such as Eugene O'Neill, Isadora Duncan, and Emma Goldman--became a symbol of social and intellectual freedom. Stansell eloquently explains how the mixing of old and new worlds, politics and art, and radicalism and commerce so characteristic of New York shaped the modern American urban scene. "American Moderns" is both an examination and a celebration of a way of life that's been nearly forgotten.

NATIONAL BESTSELLER

PULITZER PRIZE WINNER
National Book Critic's Circle Award Finalist

A New York Times Notable Book
One of the Best Books of the Year
The Boston Globe, The Christian Science Monitor, The Denver Post, The Kansas City Star, Los Angeles Times, New York, People, Rocky Mountain News, Time, The Village Voice, The Washington Post

The searing, postapocalyptic novel destined to become Cormac McCarthy's masterpiece.

A father and his son walk alone through burned America. Nothing moves in the ravaged landscape save the ash on the wind. It is cold enough to crack stones, and when the snow falls it is gray. The sky is dark. Their destination is the coast, although they don't know what, if anything, awaits them there. They have nothing; just a pistol to defend themselves against the lawless bands that stalk the road, the clothes they are wearing, a cart of scavenged food—and each other.

The Road is the profoundly moving story of a journey. It boldly imagines a future in which no hope remains, but in which the father and his son, "each the other's world entire," are sustained by love. Awesome in the totality of its vision, it is an unflinching meditation on the worst and the best that we are capable of: ultimate destructiveness, desperate tenacity, and the tenderness that keeps two people alive in the face of total devastation.

In his first book of stories since The Bridegroom was published in 2000 ("Finely wrought . . . Every story here is cut like a stone."—Chicago Sun-Times), National Book Award–winning Ha Jin gives us a collection that delves into the experience of Chinese immigrants in America.

With the same profound attention to detail that is a hallmark of his previous acclaimed works of fiction, Ha Jin depicts here the full spectrum of immigrant life and the daily struggles—some minute, some grand—faced by these intriguing individuals.

A lonely composer takes comfort in the antics of his girlfriend's parakeet; young children decide to change their names so that they might sound more "American," unaware of how deeply this will hurt their grandparents; a Chinese professor of English attempts to defect with the help of a reluctant former student. All of Ha Jin's characters struggle in situations that stir within them a desire to remain attached to be loyal to their homeland and its traditions as they explore and avail themselves of the freedom that life in a new country offers.

In these stark, deeply moving, acutely insightful, and often strikingly humorous stories, we are reminded once again of the storytelling prowess of this superb writer.

This first translation of the complete poetry of Peruvian César Vallejo (1892-1938) makes available to English speakers one of the greatest achievements of twentieth-century world poetry. Handsomely presented in facing-page Spanish and English, this volume, translated by National Book Award winner Clayton Eshleman, includes the groundbreaking collections The Black Heralds (1918), Trilce (1922), Human Poems (1939), and Spain, Take This Cup from Me (1939).

Vallejo's poetry takes the Spanish language to an unprecedented level of emotional rawness and stretches its grammatical possibilities. Striking against theology with the very rhetoric of the Christian faith, Vallejo's is a tragic vision—perhaps the only one in the canon of Spanish-language literature—in which salvation and sin are one and the same. This edition includes notes on the translation and a fascinating translation memoir that traces Eshleman's long relationship with Vallejo's poetry. An introduction and chronology provide further insights into Vallejo's life and work.

Based on the conviction that only translators who write poetry themselves can properly re-create the celebrated and timeless tragedies of Aeschylus, Sophocles, and Euripides, the Greek Tragedy in New Translations offers new translations that go beyond the literal meaning of the Greek in order to evoke the poetry of the originals.
Collected here for the first time in the series are four major works by Euripides all set in Athens: Hippoltos, translated by Robert Bagg, a dramatic interpretation of the tragedy of Phaidra; Suppliant Women, translated by Rosanna Warren and Steven Scully, a powerful examination of the human psyche; Ion, translated by W. S. Di Piero and Peter Burian, a complex enactment of the changing relations between the human and divine orders; and The Children of Herakles, translated by Henry Taylor and Robert A. Brooks, a descriptive tale of the descendants of Herakles and their journey home. These four tragedies were originally avialble as single volumes. This volume retains the informative introductions and explanatory notes of the original editions and adds a single combines glossary and Greek line numbers.

In 1957, Eugene Smith, a thirty-eight-year-old magazine photographer, walked out of his comfortable settled world—his longtime well-paying job at Life and the home he shared with his wife and four children in Croton-on-Hudson, New York—to move into a dilapidated, five-story loft building at 821 Sixth Avenue (between Twenty-eighth and Twenty-ninth streets) in New York City’s wholesale flower district. Smith was trying to complete the most ambitious project of his life, a massive photo-essay on the city of Pittsburgh.

821 Sixth Avenue was a late-night haunt of musicians, including some of the biggest names in jazz—Charles Mingus, Zoot Sims, Bill Evans, and Thelonious Monk among them—and countless fascinating, underground characters. As his ambitions broke down for his quixotic Pittsburgh opus, Smith found solace in the chaotic, somnambulistic world of the loft and its artists. He turned his documentary impulses away from Pittsburgh and toward his offbeat new surroundings.

From 1957 to 1965, Smith exposed 1,447 rolls of film at his loft, making roughly 40,000 pictures, the largest body of work in his career, photographing the nocturnal jazz scene as well as life on the streets of the flower district, as seen from his fourth-floor window. He wired the building like a surreptitious recording studio and made 1,740 reels (4,000 hours) of stereo and mono audiotapes, capturing more than 300 musicians, among them Roy Haynes, Sonny Rollins, Bill Evans, Roland Kirk, Alice Coltrane, Don Cherry, and Paul Bley. He recorded, as well, legends such as pianists Eddie Costa, and Sonny Clark, drummers Ronnie Free and Edgar Bateman, saxophonist Lin Halliday, bassist Henry Grimes, and multi-instrumentalist Eddie Listengart.

Also dropping in on the nighttime scene were the likes of Doris Duke, Norman Mailer, Diane Arbus, Robert Frank, Henri Cartier-Bresson, and Salvador Dalí, as well as pimps, prostitutes, drug addicts, thieves, photography students, local cops, building inspectors, marijuana dealers, and others.

Sam Stephenson discovered Smith’s jazz loft photographs and tapes eleven years ago and has spent the last seven years cataloging, archiving, selecting, and editing Smith’s materials for this book, as well as writing its introduction and the text interwoven throughout.

W. Eugene Smith’s Jazz Loft Project has been legendary in the worlds of art, photography, and music for more than forty years, but until the publication of The Jazz Loft Project, no one had seen Smith’s extraordinary photographs or read any of the firsthand accounts of those who were there and lived to tell the tale(s) . . .

"Being Black, Living in the Red" demonstrates that many differences between blacks and whites stem not from race but from economic inequalities that have accumulated over the course of American history. Property ownership--as measured by net worth--reflects this legacy of economic oppression. The racial discrepancy in wealth holdings leads to advantages for whites in the form of better schools, more desirable residences, higher wages, and more opportunities to save, invest, and thereby further their economic advantages. A new afterword by the author summarizes Conley's recent research on racial differences in wealth mobility and security and discusses potential policy solutions to the racial asset gap and America's low savings rate more generally.

"Batman: R.I.P." and FINAL CRISIS saw the end of Batman. Now, months following the disappearance of her protector, Gotham City sits at a precipice and it may be too far gone for Nightwing, Robin, Commissioner Gordon and the rest of the city's heroes to save the day. Amid the fires, rioting, looting and gang warfare, one question rings out from the souls of Gotham's desperate citizens: Where is Batman?

With guest-stars galore, the destruction of a sacred Gotham City institution and an ending that will have everyone talking, this event written and drawn by Tony Daniel (The Tenth) and other top creators features the battle to take on the Mantle of the Bat. Who has earned the right? Who thinks they deserve it? Robin? Nightwing? Jason Todd? Two-Face? Catwoman? Batgirl? Who will ultimately win the BATTLE FOR THE COWL?

An exploration of the production, transmission, and mutation of affective tonality--when sound helps produce a bad vibe.

Long before they came as occupiers, the British were drawn to the Middle East by the fabled riches of its trade and the enlightened tolerance of its people. The Pashas, merchants and travelers from Europe, discovered an Islamic world that was alluring, dynamic, and diverse. Ranging across two and a half centuries and through the great cities of Istanbul, Aleppo, and Alexandria, James Mather tells the forgotten story of the men of the Levant Company who sought their fortunes in the Ottoman Empire. Their trade brought to the region not only merchants but also ambassadors and envoys, pilgrims and chaplains, families and servants, aristocratic tourists and roving antiquarians. Unlike the nabobs who gathered their fortunes in Bengal, they both respected and learned from the culture they encountered, and their lives provide a fascinating insight into the meeting of East and West before the age of European imperialism. Intriguing, intimate, and original, "Pashas" brings to life an extraordinary tale of faraway visitors beguiled by a mysterious world of Islam.