Packed with practical information, Good Luck Life contains an abundance of facts, legends, foods, old-village recipes, and quick planning guides for Chinese New Year, Clear Brightness, Dragon Boat, Mid-Autumn, and many other festivals.Written with warmth and wit, Good Luck Life is beautifully designed as an easily accessible cultural guide that includes an explanation of the Lunar Calendar, tips on Chinese table etiquette for dining with confidence, and dos and don'ts from wise Auntie Lao, who recounts ancient Chinese beliefs and superstitions. This is your map for celebrating a good luck life.

    Brian Lamb has visited the gravesites of every American president, living and dead, in order to put together this book, with assistance from the staff of C-SPAN. Heavily illustrated and with contributions from historians Richard Norton Smith and Douglas Brinkley, Who's Buried in Grant's Tomb? is about the presidents' lives as much as it is about their final resting places. The book's collection of the presidents' last words, from Franklin Delano Roosevelt's "I have a terrific headache" to John Adams's "Thomas Jefferson still survives" offers a poignant and sometimes humorous look at the last moments of the great men. This is a great way to encounter the presidents, from the great ones to the near-forgottens. Who's Buried in Grant's Tomb? belongs in the glove box of every traveler and the bedside table of every fan of the American presidency and American history.

    These "cowboys of the skies," as one journalist called them, were the structural ironworkers who walked steel beams -- no wider, often, than the face of a hardcover book -- hundreds of feet above ground, to raise the soaring towers and vaulting bridges that so abruptly transformed America in the twentieth century.Many early ironworkers were former sailors, new Americans of Irish and Scandinavian descent accustomed to climbing tall ships' masts and schooled in the arts of rigging. Others came from a small Mohawk Indian reservation on the banks of the St. Lawrence River or from a constellation of seaside towns in Newfoundland. What all had in common were fortitude, courage, and a short life expectancy. "We do not die," went an early ironworkers' motto. "We are killed."High Steel is the stirring epic of these men and of the icons they built -- and are building still. Shifting between past and present, Jim Rasenberger travels back to the earliest iron bridges and buildings of the nineteenth century; to the triumph of the Brooklyn Bridge and the 1907 tragedy of the Quebec Bridge, where seventy-five ironworkers, including thirty-three Mohawks, lost their lives in an instant; through New York's skyscraper boom of the late 1920s, when ironworkers were hailed as "industrial age heroes." All the while, Rasenberger documents the lives of several contempor-ary ironworkers raising steel on a twenty-first-century skyscraper, the Time Warner building in New York City.This is a fast-paced, bare-knuckled portrait of vivid personalities, containing episodes of startling violence (as when ironworkers dynamited the Los Angeles Times building in 1910) and exhilarating adventure. In the end, High Steel is also a moving account of brotherhood and family. Many of those working in the trade today descend from multigenerational dynasties of ironworkers. As they walk steel, they follow in the footsteps of their fathers, grandfathers, and great-grandfathers.We've all had the experience of looking at a par-ticularly awe-inspiring bridge or building and wondering, How did they do that? Jim Rasenberger asks -- and answers -- the question behind the question: What sort of person would willingly scale such heights, take such chances, face such danger? The result is a depiction of the American working class as it has seldom appeared in literature: strong, proud, autonomous, enduring, and utterly compelling.

    A political humorist's caustically hilarious month-by-month archive of the 1980s includes memorable photographs, newspaper headlines, press clippings, pop quizzes, outrageous quotes, bizarre facts, and implausible yet true events.

    How does a country dismantle a century’s worth of its industrial heritage? To answer that question, Paul Clemens investigates the 2006 closing of one of America’s most potent symbols: a Detroit auto plant. Prior to its closing, the Budd Company stamping plant on Detroit’s East Side, built in 1919, was one of the oldest active auto plants in America’s foremost industrial city—one whose history includes the nation’s proudest moments and those of its working class. Its closing also reflects the character of the country in a new era—the sad, brutal process of picking it apart and sending it, piece by piece, to the countries that now have use for its machines. Punching Out is an up-close report, at once tender and angry, from the meanest, sharpest edge of America’s deindustrializa­tion, and a lament for a working-class culture that once defined a prosperous America—and that is now on the verge of eco­nomic extinction.

    Plantations are as foreign to him as the African plain that birthed the slaves his uncle owns. Surely, though, he knows his own heart. She has no say in his decisions, his day, his life. She doesn't even have a say in her own. But when Nathaniel Pereira plunges into the murky mysteries of freedom and survival in the suffocating Southern heat, Liza can see how she might change her life forever.Tracing the thread of slavery from sixteenth-century Timbuktu, "Song of Slaves in the Desert "explores one man's struggle to understand a world where honor is in short supply yet dignity cannot be sold. His mission in peril, his mind nearly undone, Nathaniel's obsession binds him to his fate more tightly than chains ever could."Cheuse shows that in one way or another, we all experience slavery, and that freedom is never given but must be taken at all cost. The book's epic vision is deeply human and humane." Helon Habila, author of "Waiting for an Angel "and "Measuring Time""""Alan Cheuse, one of our most respected men of letters, has written a daring, provocative novel. Some readers will be captivated by his depiction of the horrors of slavery and Jewish involvement in the peculiar institution, and others will be troubled and perhaps even offended, for the subject of race in America is always controversial, but no one who reads "Song of Slaves in the Desert "will emerge from its pages unaffected." Charles Johnson, author of the National Book Award winner "Middle Passage""""A novelist's dream is to conjure up a whole world, one the reader can tumble right into and inhabit. I fell into Alan Cheuse's "Song of Slaves in the Desert "like that. I confess I felt a twinge of envy at Cheuse's success, his fully imagined song and its people. But the envy immediately gave way to gratitude for having had the chance to enter and treasure the world he's made here." Josephine Humphreys, author of "Dreams of Sleep""""Cheuse passionately evokes a vanished world of master and slave, Jew and Gentile, all hurtling toward the tumult and destruction of war. The novel is full of the loss and longing that come with a world divided forever, people from their people and from their past. Fascinating." Lynn Freed, author of "The Servants"' "Quarters"A masterful writer skilled in both accuracy and nuance, Alan Cheuse grapples with the nether parts of our history, the murky boundary between right and wrong, and the wild tendency of love to break free.For more than two decades, Alan Cheuse has served as NPR's "voice of books." He is the author of four novels, including "The Grandmothers' Club, The Light Possessed," and "To Catch the Lightning "(winner of the 2009 Grub Street National Prize for fiction), several collections of short stories, and a pair of novellas. He is also the editor of "Seeing Ourselves: Great Early American Short Stories "and coeditor of "Writers Workshop in a Book.""

    The Devil’s Playground is classic and colorful American history, from the first years of the twentieth century through the Runyonesque heyday of nightclubs and theaters in the 1920s and ’30s, to the district’s decline in the 1960s and its glittering corporate revival in the 1990s.First, Traub gives us the great impresarios, wits, tunesmiths, newspaper columnists, and nocturnal creatures who shaped Times Square over the century since the place first got its name: Oscar Hammerstein, Florenz Ziegfeld, George S. Kaufman, Damon Runyon, Walter Winchell, and “the Queen of the Nightclubs,” Texas Guinan; bards like A. J. Liebling, Joe Mitchell, and the Beats, who celebrated the drug dealers and pimps of 42nd Street. He describes Times Square’s notorious collapse into pathology and the fierce debates over how best to restore it to life.Traub then goes on to scrutinize today’s Times Square as no author has yet done. He writes about the new 42nd Street, the giant Toys “R” Us store with its flashing Ferris wheel, the new world of corporate theater, and the sex shops trying to leave their history behind.More than sixty years ago, Liebling called Times Square “the heart of the world”—not just the center of the world, though this crossroads in Midtown Manhattan was indeed that, but its heart. From the dawn of the twentieth century through the 1950s, Times Square was the whirling dynamo of American popular culture and, increasingly, an urban sanctuary for the eccentric and the untamed. The name itself became emblematic of the tremendous life force of cities everywhere.Today, Times Square is once again an awe-inspiring place, but the dark and strange corners have been filled with blazing light. The most famous street character on Broadway, “the Naked Cowboy,” has his own website, and Toys “R” Us calls its flagship store in Times Square “the toy center of the universe.” For the giant entertainment corporations that have moved to this safe, clean, and self-consciously gaudy spot, Times Square is still very much the center of the world. But is it still the heart?

    Her nonfiction is equally eloquent, and this lovely memoir offers a vivid glimpse of the landscape, the people, and the long tradition of storytelling that give her work its magical, elemental force. In a small boat like those her Native American ancestors have used for countless generations, she travels to Ojibwe home ground, the islands of Lake of the Woods in southern Ontario. Her only companions are her new baby and the baby's father, an Ojibwe spiritual leader, on a pilgrimage to the sacred rock paintings their people have venerated for centuries as mystical "teaching and dream guides," and where even today Ojibwe leave offerings of tobacco in token of their power. With these paintings as backdrop, Erdrich summons to life the Ojibwe's spirits and songs, their language and sorrows, and the tales that are in their blood, echoing through her own family's very contemporary American lives and shaping her vision of the wider world. Thoughtful, moving, and wonderfully well observed, her meditation evokes ancient wisdom, modern ways, and the universal human concerns we all share.

    In Rez Life, his first full-length work of nonfiction, Treuer brings a novelist’s storytelling skill and an eye for detail to a complex and subtle examination of Native American reservation life, past and present.With authoritative research and reportage, Treuer illuminates misunderstood contemporary issues of sovereignty, treaty rights, and natural-resource conservation. He traces the waves of public policy that have disenfranchised and exploited Native Americans, exposing the tension that has marked the historical relationship between the United States government and the Native American population. Through the eyes of students, teachers, government administrators, lawyers, and tribal court judges, he shows how casinos, tribal government, and the Bureau of Indian Affairs have transformed the landscape of Native American life.A member of the Ojibwe of northern Minnesota, Treuer grew up on Leech Lake Reservation, but was educated in mainstream America. Exploring crime and poverty, casinos and wealth, and the preservation of native language and culture, Rez Life is a strikingly original work of history and reportage, a must read for anyone interested in the Native American story.

    Rebelling against the aimless drinking, punishing missionary school, narrow strictures for women, and violence and hopeless of reservation life, she joined the new movement of tribal pride sweeping Native American communities in the sixties and seventies. Mary eventually married Leonard Crow Dog, the American Indian Movement's chief medicine man, who revived the sacred but outlawed Ghost Dance. Originally published in 1990, Lakota Woman was a national best seller and winner of the American Book Award. It is a unique document, unparalleled in American Indian literature, a story of death, of determination against all odds, of the cruelties perpetuated against American Indians, and of the Native American struggle for rights. Working with Richard Erdoes, one of the twentieth century's leading writers on Native American affairs, Brave Bird recounts her difficult upbringing and the path of her fascinating life.

    The game was not televised; no New York sportswriters showed up; and a fourteen-year-old local boy ran onto the court when Chamberlain scored his hundredth point, shook his hand, and then ran off with the basketball. In telling the story of this remarkable night, author Gary M. Pomerantz brings to life a lost world of American sports.In 1962, the National Basketball Association, stepchild to the college game, was searching for its identity. Its teams were mostly white, the number of black players limited by an unspoken quota. Games were played in drafty, half-filled arenas, and the players traveled on buses and trains, telling tall tales, playing cards, and sometimes reading Joyce. Into this scene stepped the unprecedented Wilt Chamberlain: strong and quick-witted, voluble and enigmatic, a seven-footer who played with a colossal will and a dancer’s grace. That strength, will, grace, and mystery were never more in focus than on March 2, 1962. Pomerantz tracked down Knicks and Philadelphia Warriors, fans, journalists, team officials, other NBA stars of the era, and basketball historians, conducting more than 250 interviews in all, to recreate in painstaking detail the game that announced the Dipper’s greatness. He brings us to Hershey, Pennsylvania, a sweet-seeming model of the gentle, homogeneous small-town America that was fast becoming anachronistic. We see the fans and players, alternately fascinated and confused by Wilt, drawn anxiously into the spectacle. Pomerantz portrays the other legendary figures in this story: the Warriors’ elegant coach Frank McGuire; the beloved, if rumpled, team owner Eddie Gottlieb; and the irreverent p.a. announcer Dave “the Zink” Zinkoff, who handed out free salamis courtside.At the heart of the book is the self-made Chamberlain, a romantic cosmopolitan who owned a nightclub in Harlem and shrugged off segregation with a bebop cool but harbored every slight deep in his psyche. March 2, 1962, presented the awesome sight of Wilt Chamberlain imposing himself on a world that would diminish him. Wilt, 1962 is not only the dramatic story of a singular basketball game but a meditation on small towns, midcentury America, and one of the most intriguing figures in the pantheon of sports heroes. Also available as a Random House AudioBookFrom the Hardcover edition.

    Yet perhaps the most compelling gangster tale is one that has been, until now, too well-hidden. This is the story of the Outfit: the secretive organized crime cartel that began its reign in prohibition-era Chicago before becoming the real puppet master of Hollywood, Las Vegas, and Washington D.C.The Outfit recounts the adventures and exploits of its bosses, Tony 'Joe Batters' Accardo (the real Godfather), Murray 'The Camel' or 'Curly' Humphreys (one of the greatest political fixers and union organizers this country has ever known), Paul 'The Waiter' Ricca, and Johnny Rosselli (the liaison between the shadowy world and the outside world). Their invisibility was their strength, and what kept their leader from ever spending a single night in jail. The Outfit bosses were the epitome of style and grace, moving effortlessly among national political figures and Hollywood studio heads-until their world started to crumble in the 1970s.With extensive research including recently released FBI files, the Chicago Crime files of entertainer Steve Allen, first-ever access to the voluminous working papers of the Kefauver Committee, original interviews with the members of the Fourth Estate who pursued the Outfit for forty years, and exclusive access to the journals of Humphrey's widow, veteran journalist Gus Russo uncovers sixty years of corruption and influence, and examines the shadow history of the United States.

    Natalie Diaz’s brilliant second collection demands that every body carried in its pages—bodies of language, land, rivers, suffering brothers, enemies, and lovers—be touched and held as beloveds. Through these poems, the wounds inflicted by America onto an indigenous people are allowed to bloom pleasure and tenderness: “Let me call my anxiety, desire, then. / Let me call it, a garden.” In this new lyrical landscape, the bodies of indigenous, Latinx, black, and brown women are simultaneously the body politic and the body ecstatic. In claiming this autonomy of desire, language is pushed to its dark edges, the astonishing dunefields and forests where pleasure and love are both grief and joy, violence and sensuality.Diaz defies the conditions from which she writes, a nation whose creation predicated the diminishment and ultimate erasure of bodies like hers and the people she loves: “I am doing my best to not become a museum / of myself. I am doing my best to breathe in and out. // I am begging: Let me be lonely but not invisible.” Postcolonial Love Poem unravels notions of American goodness and creates something more powerful than hope—a future is built, future being a matrix of the choices we make now, and in these poems, Diaz chooses love.

    Yankee Doodle called his feathered cap "Macaroni."

    Skeptics and True Believersis the culmination of that search—a passionate, ever-inquisitive statement that science and religion can mutually reinforce the way we experience the world.Acknowledging that the scientific and the spiritual communities are increasingly split, Raymo builds strong bridges between them. He illustrates his argument with an array of thought-provoking stories, such as the remarkable migratory flight of a small bird called the red knot; the long, glorious glide of the Comet Hyakutake across the night sky; a hilarious alien abduction that didn't happen. Together, they are compelling evidence that religion should embrace the reliable knowledge of the world that science provides, while at the same time science should respect and nourish humankind's need for spiritual sustenance. "Miracles are explainable," Raymo paraphrases the writer Tim Robinson, "it is the explanations that are miraculous."For anyone drawn to reflect on life's meaning and purpose, Chet Raymo's uncompromising skepticism and reverence for mystery will affirm and inspire.