Translated by Jeremy Moyle In Nature in the New World (translated into English in 1985), Antonello Gerbi examines the fascinating reports of the first Europeans to see the Americas. These accounts provided the basis for the images of strange and new flora, fauna, and human creatures that filled European imaginations.Initial chapters are devoted to the writings of Columbus, Vespucci, Cortes, Verrazzano, and others. The second portion of the book concerns the Historia general y natural de las Indias of Gonzalo Fernandez de Oviedo, a work commissioned by Charles V of Spain in 1532 but not published in its entirety until the 1850s. Antonello Gerbi contends that Oviedo, a Spanish administrator who lived in Santo Domingo, has been unjustly neglected as a historian. Gerbi shows that Oviedo was a major authority on the culture, history, and conquest of the New World.

In Wonder and Exile in the New World, Alex Nava explores the border regions between wonder and exile, particularly in relation to the New World. It traces the preoccupation with the concept of wonder in the history of the Americas, beginning with the first European encounters, goes on to investigate later representations in the Baroque age, and ultimately enters the twentieth century with the emergence of so-called magical realism. In telling the story of wonder in the New World, Nava gives special attention to the part it played in the history of violence and exile, either as a force that supported and reinforced the Conquest or as a voice of resistance and decolonization. Focusing on the work of New World explorers, writers, and poets—and their literary descendants—Nava finds that wonder and exile have been two of the most significant metaphors within Latin American cultural, literary, and religious representations. Beginning with the period of the Conquest, especially with Cabeza de Vaca and Las Casas, continuing through the Baroque with Cervantes and Sor Juana Inés de la Cruz, and moving into the twentieth century with Alejo Carpentier and Miguel Ángel Asturias, Nava produces a historical study of Latin American narrative in which religious and theological perspectives figure prominently.

A rebellious Indian proclaiming noble ancestry and entitlement, a military lieutenant foreshadowing the coming of revolution, a blasphemous Creole embroiderer in possession of a bundle of sketches brimming with pornography. All shared one thing in common. During the late eighteenth century, they were deemed to be mad and forcefully admitted to the Hospital de San Hipolito in Mexico City, the first hospital of the New World to specialize in the care and custody of the mentally disturbed. Christina Ramos reconstructs the history of this overlooked colonial hospital from its origins in 1567 to its transformation in the eighteenth century, when it began to admit a growing number of patients transferred from the Inquisition and secular criminal courts. Drawing on the poignant voices of patients, doctors, friars, and inquisitors, Ramos treats San Hipolito as both a microcosm and a colonial laboratory of the Hispanic Enlightenment—a site where traditional Catholicism and rationalist models of madness mingled in surprising ways. She shows how the emerging ideals of order, utility, rationalism, and the public good came to reshape the institutional and medical management of madness. While the history of psychiatry's beginnings has often been told as seated in Europe, Ramos proposes an alternative history of madness's medicalization that centers colonial Mexico and places religious figures, including inquisitors, at the pioneering forefront.

Often compared unfavorably with colonial New England, the early Chesapeake has been portrayed as irreligious, unstable, and violent. In this important new study, James Horn challenges this conventional view and looks across the Atlantic to assess the enduring influence of English attitudes, values, and behavior on the social and cultural evolution of the early Chesapeake. Using detailed local and regional studies to compare everyday life in English provincial society and the emergent societies of the Chesapeake Bay, Horn provides a richly textured picture of the immigrants' Old World backgrounds and their adjustment to life in America. Until the end of the seventeenth century, most settlers in Virginia and Maryland were born and raised in England, a factor of enormous consequence for social development in the two colonies. By stressing the vital social and cultural connections between England and the Chesapeake during this period, Horn places the development of early America in the context of a vibrant Anglophone transatlantic world and suggests a fundamental reinterpretation of New World society.

This sequel to Grammy-nominated bestseller Under the Big Black Sun continues the up-close and personal account of the L.A. punk scene—and includes fifty rare photos. Picking up where Under the Big Black Sun left off, More Fun in the New World explores the years 1982 to 1987, covering the dizzying pinnacle of L.A.'s punk rock movement as its stars took to the national—and often international—stage. Detailing the eventual splintering of punk into various sub-genres, the second volume of John Doe and Tom DeSavia's west coast punk history portrays the rich cultural diversity of the movement and its characters, the legacy of the scene, how it affected other art forms, and ultimately influenced mainstream pop culture. The book also pays tribute to many of the fallen soldiers of punk rock, the pioneers who left the world much too early but whose influence hasn't faded. As with Under the Big Black Sun, the book features stories of triumph, failure, stardom, addiction, recovery, and loss as told by the people who were influential in the scene, with a cohesive narrative from authors Doe and DeSavia. Along with many returning voices, More Fun in the New World weaves in the perspectives of musicians Henry Rollins, Fishbone, Billy Zoom, Mike Ness, Jane Weidlin, Keith Morris, Dave Alvin, Louis Pérez, Charlotte Caffey, Peter Case, Chip Kinman, Maria McKee, and Jack Grisham, among others. And renowned artist/illustrator Shepard Fairey, filmmaker Allison Anders, actor Tim Robbins, and pro-skater Tony Hawk each contribute chapters on punk's indelible influence on the artistic spirit. In addition to stories of success, the book also offers a cautionary tale of an art movement that directly inspired commercially diverse acts such as Green Day, Rancid, Red Hot Chili Peppers, Wilco, and Neko Case. Readers will find themselves rooting for the purists of punk juxtaposed with the MTV-dominating rock superstars of the time who flaunted a "born to do this, it couldn't be easier" attitude that continued to fuel the flames of new music. More Fun in the New World follows the progression of the first decade of L.A. punk, its conclusion, and its cultural rebirth.

Now in a full-length book, the New York Times Pulitzer Prize–winning graphic story of a refugee family who fled the civil war in Syria to make a new life in America After escaping a Syrian prison, Ibrahim Aldabaan and his family fled the country to seek protection in America. Among the few refugees to receive visas, they finally landed in JFK airport on November 8, 2016, Election Day. The family had reached a safe harbor, but woke up to the world of Donald Trump and a Muslim ban that would sever them from the grandmother, brothers, sisters, and cousins stranded in exile in Jordan. Welcome to the New World tells the Aldabaans’ story. Resettled in Connecticut with little English, few friends, and even less money, the family of seven strive to create something like home. As a blur of language classes, job-training programs, and the fearsome first days of high school (with hijab) give way to normalcy, the Aldabaans are lulled into a sense of security. A white van cruising slowly past the house prompts some unease, which erupts into full terror when the family receives a death threat and is forced to flee and start all over yet again. The America in which the Aldabaans must make their way is by turns kind and ignorant, generous and cruel, uplifting and heartbreaking. Delivered with warmth and intimacy, Welcome to the New World is a wholly original view of the immigrant experience, revealing not only the trials and successes of one family but showing the spirit of a town and a country, for good and bad.

“The Old World, the New World, and the Creation of the Modern World, 1400–1650: An Interpretive History” provides a unique look at the early years of European discovery and colonization, examining the impact of this period on the historical development of both the New and Old Worlds. The text is enhanced by the incorporation of a wide variety of original source material, allowing readers to benefit from a more first-hand experience of the historical events of the period. Providing the essential facts in conjunction with expert analysis, the volume poses a number of important questions to enable readers to construct their own analysis of the evidence presented. Uniquely, the volume goes beyond the standard textbook formula of “what, when and where” to delve more deeply into the specific (as well as the wider) significance of historical developments, thereby providing the platform for a textured, interpretive understanding of the history of the Atlantic world.