Authors Luz Calvo and Catriona Rueda Esquibel are life partners; when Luz was diagnosed with breast cancer in 2006, they both radically changed their diets and began seeking out recipes featuring healthy, vegetarian Mexican foods. They promote a diet that is rich in plants indigenous to the Americas (corn, beans, squash, greens, herbs, and seeds), and are passionate about the idea that Latinos in America, specifically Mexicans, need to ditch the fast food and return to their own culture's food roots for both physical health and spiritual fulfillment.This vegetarian cookbook features over 100 colorful, recipes based on Mesoamerican cuisine and also includes contributions from indigenous cultures throughout the Americas, such as Kabocha Squash in Green Pipian, Aguachile de Quinoa, Mesquite Corn Tortillas, Tepary Bean Salad, and Amaranth Chocolate Cake. Steeped in history but very much rooted in the contemporary world, Decolonize Your Diet will introduce readers to the the energizing, healing properties of a plant-based Mexican American diet.Full-color throughout.Luz Calvo and Catriona Rueda Esquibel are professors at California State East Bay and San Francisco State University, respectively. They grow fruits, vegetables, and herbs on their small urban farm. This is their first book.

    Much is known of the slave trade and the American plantation system, but little of the ships that made it all possible.In The Slave Ship, award-winning historian Marcus Rediker draws on thirty years of research in maritime archives to create an unprecedented history of these vessels and the human drama acted out on their rolling decks. He reconstructs in chilling detail the lives, deaths, and terrors of captains, sailors, and the enslaved aboard a “floating dungeon” trailed by sharks.From the young African kidnapped from his village and sold into slavery by a neighboring tribe to the would-be priest who takes a job as a sailor on a slave ship only to be horrified at the evil he sees to the captain who relishes having “a hell of my own,” Rediker illuminates the lives of people who were thought to have left no trace.This is a tale of tragedy and terror, but also an epic of resilience, survival, and the creation of something entirely new. Marcus Rediker restores the slave ship to its rightful place alongside the plantation as a formative institution of slavery, a place where a profound and still haunting history of race, class, and modern economy was made.

    With a true American voice, Caldwell presents a searing view of the tragic struggles of a black brother and sister in their attempt to survive the racism and perverse sexuality of their brutal Southern employers.

    In these poems, Smith opens the reader to a world of desire, longing, and deep mourning that picks up where his brothers Hopkins and Whitman left off. Startling in their formal range and virtuosity, these poems interrogate the ways the body not only inhabits but actually becomes public and private space: …tonight, I am no one’s pet, maybe an animal, wounded & hungry for revenge or sympathy but what’s the difference? Danez Smith lays down the gauntlet for all of us to speak our deepest truths with more elegance, more ferocity, and almost more beauty than a reader can bear.—Gabrielle Calvocoressi, Apocalyptic Swing, Poetry Editor for The LA Review of BooksDanez Smith is the crown prince of innovation and ferocity, a stunningly original voice that chooses not to recognize or respect those vexing artistic boundaries. Here is forte unleashed, an elicit glimpse of poetry's yet-to-be-turned page, a reason to stomp and romp in your church shoes. Hallelujah is an understatement.—Patricia Smith, Shoulda Been Jimi Savannah and Blood Dazzler

    With inspiring candor, Kordale Lewis describes his struggles with childhood sexual abuse, a drug-addicted mother, suicide, the trials of teen fatherhood, and much more. His story provides a bold challenge for readers to redefine their own meaning of a perfect family.

    To view it narrowly, to concentrate on the history of specific trade unions or on the careers of individuals and their rivalries, would be to miss the point that the great forces which have swept the American people into action have been the very forces that have also molded labor. Trade unionism was born as an effective national movement amid the great convulsion of the Civil War and the fight for black freedom... Labor suffered under depressions which spurred the whole American people into movement in the seventies, in the eighties, and in the nineties. It reached its greatest heights when it joined hands with farmers, small businessmen, and the black people in the epic Populist revolts of the 1890's and later in the triumph that was the New Deal. For labor has never lived in isolation or progressed without allies. Always it has been in the main stream of American life,... Labor's story, by its very nature, is synchronized at every turn with the growth and development of American monopoly. Its great leap forward into industrial unionism was an answering action to the development of trusts and great industrial empires. Labor's grievances, in fact the very conditions of its life, have been imposed by its great antagonist, that combination of industrial and financial power often known as Wall Street. The mind and actions of William H. Sylvis, the iron molder who founded the first effective national labor organization, can scarcely be understood without also an understanding of the genius and cunning of his contemporary, John D. Rockefeller, father of the modern trust. In the long view of history the machinations of J. P. Morgan, merging banking and industrial capital as he threw together ever larger combinations of corporate power controlled by fewer and fewer men, may have governed the course of American labor more than the plans of Samuel Gompers

    Their successes disrupt the popular image of the Latin American woman worker as a passive bystander and broadly re-imagine the possibilities of international labor solidarity.Over the past 20 years, bananeras have organized themselves and gained increasing control over their unions, their workplaces, and their lives. Highly accessible and narrative in style, Bananeras: Women Transforming the Banana Unions of Latin America recounts the history and growth of this vital movement.Starting in 1985 with one union in La Lima, Honduras, and expanding domestically through the late 1990s, experienced activists successfully reached out to younger women with a message of empowerment. In a compelling example of transnational feminism at work, the bananeras crossed borders to ally with banana workers in five other banana exporting countries in Latin America, arguing all the while that empowering women at every level of their organizations makes for stronger unions, better able to confront the ever-encroaching multinational corporations.When the bananeras of Latin America, with their male allies, explicitly integrate gender equity into their organizing work as essential to effective labor internationalism—when they refuse to separate the global struggle against trans-national corporations from the formidable efforts at home to achieve equity and respect—they inspire all of us to envision a new framework for internationalism that places women’s human rights at the center of global class politics.A professor of American studies at the University of California Santa Cruz, Dana Frank focuses on US and international labor issues. Published in The Washington Post, The Nation, and other periodicals, she is the author of Buy American and, with Robin D.G. Kelley and Howard Zinn, of Three Strikes.

    A provocative and illuminating analysis of the modern world's obsession with nationalism and patriotism, Gary Younge makes surprising and enlightening connections as he delivers a devastating critique on the way our society really works.

    Take, for instance, the Kentucky Club on Avenida Juárez two blocks south of the Rio Grande. It's a touchstone for each of Sáenz's stories. His characters walk by, they might go in for a drink or to score, or they might just stay there for a while and let their story be told. Sáenz knows that the Kentucky Club, like special watering holes in all cities, is the contrary to borders. It welcomes Spanish and English, Mexicans and gringos, poor and rich, gay and straight, drug addicts and drunks, laughter and sadness, and even despair. It's a place of rich history and good drinks and cold beer and a long polished mahogany bar. Some days it smells like piss. "I'm going home to the other side." That's a strange statement, but you hear it all the time at the Kentucky Club.Benjamin Alire Sáenz is a highly regarded writer of fiction, poetry, and children's literature. Like these stories, his writing crosses borders and lands in our collective psyche. Poets & Writers Magazine named him one of the fifty most inspiring writers in the world. He's been a finalist for the Los Angeles Times Book Prize and PEN Center's prestigious award for young adult fiction. Sáenz is the chair of the creative writing department of University of Texas at El Paso.Awards:PEN/Faulkner Award for FictionLambda Literary AwardSouthwest Book Award

    "The Paper Door and Other Stories" showcases the concise, delicate art of this writer who is often called "the god of the Japanese short story." Doyen of Japanese letters Donald Keene ranks some of Shiga's stories "among the most brilliant achievements in this genre by any twentieth-century Japanese writer." Shiga's unique style is concise and simple, with no unnecessary words. With the subtlest of gestures, he evokes the fullness of experience.Lane Dunlop's masterly translation of seventeen of Shiga's finest stories has provided English readers their first overview of the author's work. Now back in print, the book is augmented by Donald Keene's new preface contextualizing Shiga's awesome literary gifts. Dunlop has chosen stories that aptly represent Shiga's range and virtuosity. With selections spanning forty years, from the fable-like "The Little Girl and the Rapeseed Flower" to the psychologically complex "A Gray Moon," this collection delineates the development of Shiga's rare genius.

    Through the eyes of journalist Max Reddick, and with penetrating fictional portraits of Richard Wright and James Baldwin, among other historical figures, John A Williams reveals the hope, courage, and bitter disappointment of the civil-rights era. Infused with powerful artistry, searing anger, as well as insight, humanity, and vision, The Man Who Cried I Am is a classic of postwar American literature.

    Originally serialized on the hugely popular website Boing Boing, The Hip Hop Family Tree is now collected in a single volume cleverly presented and packaged in a style mimicking the Marvel comics of the same era. Piskor's exuberant yet controlled cartooning takes you from the parks and rec rooms of the South Bronx to the night clubs, recording studios, and radio stations where the scene started to boom, capturing the flavor of late-1970s New York City in panels bursting with obsessively authentic detail. With a painstaking, vigorous and engaging Ken Burns meets- Stan Lee approach, the battles and rivalries, the technical innovations, the triumphs and failures are all thoroughly researched and lovingly depicted. plus the charismatic players behind the scenes like Russell Simmons, Sylvia Robinson and then-punker Rick Rubin. Piskor also traces graffiti master Fab 5 Freddy's rise in the art world, and Debbie Harry, Keith Haring, The Clash, and other luminaries make cameos as the music and culture begin to penetrate downtown Manhattan and the mainstream at large. Like the acclaimed hip hop documentaries Style Wars and Scratch, The Hip Hop Family Tree is an exciting and essential cultural chronicle and a must for hip hop fans, pop-culture addicts, and anyone who wants to know how it went down back in the day.

    Thousands die crossing the line and those who reach "the other side" are branded illegals, undocumented and unprotected. Crossing Over puts a human face on the phenomenon, following the exodus of the Chávez clan, an extended Mexican family who lost three sons in a tragic border accident. Martínez follows the migrants' progress from their small southern Mexican town of Cherán to California, Wisconsin, and Missouri where far from joining the melting pot, Martínez argues, the seven million migrants in the U.S. are creating a new culture that will alter both Mexico and the United States as the two countries come increasingly to resemble each other.

    Coe's Mexico has long been recognized as the most readable and authoritative introduction to the region’s ancient civilizations. This companion to his best-selling The Maya has now been completely revised and expanded for the fifth edition by Professor Coe and Rex Koontz. Colour plated an a section on touring Mexico have been added, making the book an even more valuable companion on any visit to Mexico's rich archaeological treasures.

    The guitarist Chuck Brown, the "Godfather of Go-Go," created the music by mixing sounds borrowed from church and the blues with the funk and flavor that he picked up playing for a local Latino band. Born in the inner city, amid the charred ruins of the 1968 race riots, go-go generated a distinct culture and an economy of independent, almost exclusively black-owned businesses, which sold tickets to shows and performance recordings. At the peak of its popularity, in the 1980s, go-go could be heard around the capital every night of the week, on college campuses and in crumbling historic theaters, hole-in-the-wall nightclubs, back yards, and city parks.Go-Go Live is a social history of black Washington told through its go-go music and culture. Encompassing dance moves, nightclubs, and fashion, as well as the voices of artists, fans, business owners, and politicians, Natalie Hopkinson's Washington-based narrative reflects the broader history of race in urban America in the second half of the twentieth century and the early twenty-first. In the 1990s, the middle class that had left the city for the suburbs in the postwar years, began to return. Gentrification drove up property values and pushed go-go into D.C.'s suburbs. The Chocolate City is in decline, but its heart, D.C.'s distinctive go-go musical culture, continues to beat. On any given night, there's live go-go in the D.C. metro area.Natalie Hopkinson, a contributing editor to the online magazine The Root, teaches journalism at Georgetown University and directs the Future of the Arts and Society project as a fellow of the Interactivity Foundation. A former writer and editor at the Washington Post, she is the author, with Natalie Y. Moore, of Deconstructing Tyrone: A New Look at Black Masculinity in the Hip-Hop Generation. She has contributed to the Wall Street Journal, the New York Times, and TheAtlantic.com and done commentary for NPR and the BBC."Natalie Hopkinson knows the music, the heartbeat, and the people of Washington well, but Go-Go Live: The Musical Life and Death of a Chocolate City is much more than a book about D.C.'s indigenous sound. It is a vital, lively, and ultimately inspiring look at the evolution of an American city."—George Pelecanos "Black Washington, D.C., has a famously rich history and culture. Natalie Hopkinson has an established reputation as one of the most sophisticated commentators on contemporary black culture in the capital city. Go-Go Live is not only a fascinating account of a musical culture, but also a social and cultural history of black Washington in the post–civil rights era."—Mark Anthony Neal, author of New Black Man"Go-Go Live is not just a fantastic read, but THE definitive study of D.C.'s most overlooked and unheralded art form. Natalie Hopkinson captures the soul of the city."—Dana Flor, codirector of The Nine Lives of Marion Barry"Go-Go Live is a terrific and important piece of work. Music, race, and the city are three key pivot points of our society, and Natalie Hopkinson pulls them together in a unique and powerful way. I have long adored Washington, D.C.'s go-go music. This book helped me understand the history of the city and the ways that it reflects the whole experience of race and culture in our society. It puts music front and center in the analysis of our urban experience, something which has been too long in coming."—Richard Florida, author of The Rise of the Creative Class and director of the Martin Prosperity Institute at the Rotman School of Management, University of Toronto