Yiddish melodramas about the tribulations of immigration. German plays about alpine tourism. Italian vaudeville performances. Rubbernecking tours of Chinatown. In the New York City of the late nineteenth and early twentieth centuries, these seemingly disparate leisure activities played similar roles: mediating the vast cultural, demographic, and social changes that were sweeping the nation's largest city. In The Immigrant Scene, Sabine Haenni reveals how theaters in New York created ethnic entertainment that shaped the culture of the United States in the early twentieth century. Considering the relationship between leisure and mass culture, The Immigrant Scene develops a new picture of the metropolis in which the movement of people, objects, and images on-screen and in the street helped residents negotiate the complexities of modern times. In analyzing how communities engaged with immigrant theaters and the nascent film culture in New York City, Haenni traces the ways in which performance and cinema provided virtual mobility--ways of navigating the socially complex metropolis--and influenced national ideas of immigration, culture, and diversity in surprising and lasting ways.

In a world of rapidly changing values and traditions, an Indian woman enters into an arranged marriage to a man she barely knows and moves to distant Canada Thirty-year-old Nina is an English teacher living alone in Jangpura, India. With diminishing prospects, she agrees to an arranged union. Her groom is the Indian-born Ananda, who lives in Canada. He once dreamed of becoming a doctor but settled for dentistry. He is lonely, and also in want of a spouse. Their life together is not what either expected. Unable to find work teaching in Nova Scotia, Nina takes a job at the local library. Ananda is troubled by his own response to the sexual aspects of their relationship. Assimilating into a new culture pales in comparison to the trials of marriage—its ups and downs, its inevitable compromises . . . and the temptations of illicit passion.

We are resilience. We are hope. We are dreamers. Yuyi Morales brought her hopes, her passion, her strength, and her stories with her, when she came to the United States in 1994 with her infant son. She left behind nearly everything she owned, but she didn't come empty-handed. From the author-illustrator of Bright Star, Dreamers is a celebration of making your home with the things you always carry: your resilience, your dreams, your hopes and history. It's the story of finding your way in a new place, of navigating an unfamiliar world and finding the best parts of it. In dark times, it's a promise that you can make better tomorrows. This lovingly-illustrated picture book memoir looks at the myriad gifts migrantes bring with them when they leave their homes. It's a story about family. And it's a story to remind us that we are all dreamers, bringing our own strengths wherever we roam. Beautiful and powerful at any time but given particular urgency as the status of our own Dreamers becomes uncertain, this is a story that is both topical and timeless. The lyrical text is complemented by sumptuously detailed illustrations, rich in symbolism. Also included are a brief autobiographical essay about Yuyi's own experience, a list of books that inspired her (and still do), and a description of the beautiful images, textures, and mementos she used to create this book. A parallel Spanish-language edition, Soñadores, is also available. Winner of the Pura Belpré Illustrator Award! A New York Times / New York Public Library Best Illustrated Book A New York Times Bestseller Recipient of the Flora Stieglitz Strauss Award A 2019 Boston Globe - Horn Book Honor Recipient An Anna Dewdney Read Together Honor Book Named a Best Book of 2018 by Kirkus Reviews, Publishers Weekly, School Library Journal, Shelf Awareness, NPR, the Boston Globe, the Chicago Tribune, Salon.com-- and many more! A Junior Library Guild selection A Eureka! Nonfiction Honoree A Bulletin of the Center for Children's Books Blue Ribbon title A Bank Street Best Children's Book of the Year A CLA Notable Children's Book in Language Arts Selected for the CBC Champions of Change Showcase

What drives so many to leave everything behind and journey alone to a mysterious country, a place without family or friends, where everything is nameless and the future is unknown. This silent graphic novel is the story of every migrant, every refugee, every displaced person, and a tribute to all those who have made the journey.

In this book, Elisabeth H. Kinsley weaves the stories of racially and ethnically distinct Shakespeare theatre scenes in late nineteenth- and early twentieth-century Manhattan into a single cultural history, revealing how these communities interacted with one another and how their work influenced ideas about race and belonging in the United States during a time of unprecedented immigration. As Progressive Era reformers touted the works of Shakespeare as an “antidote” to the linguistic and cultural mixing of American society, and some reformers attempted to use the Bard’s plays to “Americanize” immigrant groups on Manhattan’s Lower East Side, immigrants from across Europe appropriated Shakespeare for their own ends. Kinsley uses archival material such as reform-era handbooks, theatre posters, playbills, programs, sheet music, and reviews to demonstrate how, in addition to being a source of cultural capital, authority, and resistance for these communities, Shakespeare’s plays were also a site of cultural exchange. Performances of Shakespeare occasioned nuanced social encounters between New York’s empowered and marginalized groups and influenced sociocultural ideas about what Shakespeare, race, and national belonging should and could mean for Americans. Timely and immensely readable, this book explains how ideas about cultural belonging formed and transformed within a particular human community at a time of heightened demographic change. Kinsley’s work will be welcomed by anyone interested in the formation of national identity, immigrant communities, and the history of the theatre scene in New York and the rest of the United States.

The instant New York Times Bestseller • Nominated for the 2019 National Book Award for Fiction “A lyrical work of self-discovery that’s shockingly intimate and insistently universal…Not so much briefly gorgeous as permanently stunning.” —Ron Charles, The Washington Post Ocean Vuong’s debut novel is a shattering portrait of a family, a first love, and the redemptive power of storytelling On Earth We’re Briefly Gorgeous is a letter from a son to a mother who cannot read. Written when the speaker, Little Dog, is in his late twenties, the letter unearths a family’s history that began before he was born — a history whose epicenter is rooted in Vietnam — and serves as a doorway into parts of his life his mother has never known, all of it leading to an unforgettable revelation. At once a witness to the fraught yet undeniable love between a single mother and her son, it is also a brutally honest exploration of race, class, and masculinity. Asking questions central to our American moment, immersed as we are in addiction, violence, and trauma, but undergirded by compassion and tenderness, On Earth We’re Briefly Gorgeous is as much about the power of telling one’s own story as it is about the obliterating silence of not being heard. With stunning urgency and grace, Ocean Vuong writes of people caught between disparate worlds, and asks how we heal and rescue one another without forsaking who we are. The question of how to survive, and how to make of it a kind of joy, powers the most important debut novel of many years. Named a Best Book of the Year by: GQ, Kirkus Reviews, Booklist, Library Journal, TIME, Esquire, The Washington Post, Apple, Good Housekeeping, The New Yorker, The New York Public Library, Elle.com, The Guardian, The A.V. Club, NPR, Lithub, Entertainment Weekly, Vogue.com, The San Francisco Chronicle, Mother Jones, Vanity Fair, The Wall Street Journal Magazine and more!

Using original sources--such as newspaper articles, silent movies, letters, autobiographies, and interviews--Ilaria Serra depicts a large tapestry of images that accompanied mass Italian migration to the U.S. at the turn of the twentieth century. She chooses to translate the Italian concept of immaginario with the Latin imago that felicitously blends the double English translation of the word as "imagery" and "imaginary." Imago is a complex knot of collective representations of the immigrant subject, a mental production that finds concrete expression; impalpable, yet real. The "imagined immigrant" walks alongside the real one in flesh and rags.