Critic Ivan Felt and poet Harris Conklin are the Don Quixote and Sancho Panza of baseball fandom. Or, perhaps, the Felix and Oscar of baseball fandom. Or the Pollock and de Kooning. Or the Bugs and Daffy. The New York Mets are, of course, the New York Mets of baseball. In 2005, Felt and Conklin, lifelong friends and lifelong fans, determined to change the course of their own careers and of baseball history by doing what had never been done: writing their beloved team to a World Championship. The 2005 Mets, with a new manager and some of the spiffiest free agents on the market, seemed ready to take the world by storm. Felt and Conklin believed themselves up to the task. It is, after all, Belief (and free agents) that makes such dreams come true. Believeniks! is the record of a journey. Felt and Conklin would, alas, fail to see their team attain that golden pinnacle in the clouds of baseball glory. As Believeniks! reveals, however, the season’s unfolding drama would leave two of baseball’s most erudite and excitable fans forever changed.

What’s a novelist supposed to do with contemporary culture? And what’s contemporary culture sup­posed to do with novelists? In The Ecstasy of Influence, Jonathan Lethem, tangling with what he calls the “white elephant” role of the writer as public intellectual, arrives at an astonishing range of answers. A constellation of previously published pieces and new essays as provocative and idiosyncratic as any he’s written, this volume sheds light on an array of topics from sex in cinema to drugs, graffiti, Bob Dylan, cyberculture, 9/11, book touring, and Marlon Brando, as well as on a shelf’s worth of his literary models and contemporaries: Norman Mailer, Paula Fox, Bret Easton Ellis, James Wood, and oth­ers. And, writing about Brooklyn, his father, and his sojourn through two decades of writing, Lethem sheds an equally strong light on himself.

Two ardent fans offer a tongue-in-cheek chronicle of the New York Mets' 2005 season as they follow the team and its players on the path to a Mets World Series as they endeavor to unseat the hated Yankees. 25,000 first printing.

No baseball team has captured America's imagination like the Mets. Alternately the "Lovable Losers" and the "Miracle Mets," New York's other team offers fascinating fodder for writer Richard Grossinger in this thoughtful collection. The New York Mets is a series of probing essays on the best and most interesting years of the team, particularly 1969, 1973, 1986, and last year's abbreviated run. A pivotal essay chronicles the lives of a professional athlete and a die-hard fan to create a well-argued, deeply felt meditation on the ways in which franchise baseball has come to fail not only the fans but the players. This centerpiece presents a poignant narrative of Mets pitcher Terry Leach and author Grossinger's own experiences playing and tracking the sport. Taken together, these powerful essays alternately take the poet's, the alchemist's, and the player's perspective to paint a composite portrait that brings all the stunning highs and dispiriting lows together to show the ways in which America's favorite pastime has changed. Grossinger reflects on the salad days when teams were happily homegrown and laments the current money-ball scenario some call baseball today.

A New York Times Notable Book One of the Best Books of the Year: Chicago Tribune, Village Voice, The Globe and Mail Jonathan Lethem, winner of the National Book Critics Circle Award for Fiction and the MacArthur Fellowship whose writing has been called “as ambitious as [Norman] Mailer, as funny as Philip Roth, and as stinging as Bob Dylan” (Los Angeles Times), returns with an epic yet intimate family saga. Rose Zimmer, the aptly nicknamed Red Queen of Sunnyside, Queens, is an unreconstructed Communist who savages neighbors, family, and political comrades with the ferocity of her personality and the absolutism of her beliefs. Her equally passionate and willful daughter, Miriam, flees Rose’s influence for the dawning counterculture of Greenwich Village. Despite their differences, they share a power to enchant the men in their lives: Rose’s aristocratic German Jewish husband, Albert; her feckless chess hustler cousin, Lenny; Cicero Lookins, the brilliant son of her black cop lover; Miriam’s (slightly fraudulent) Irish folksinger husband, Tommy Gogan; and their bewildered son, Sergius. Through Lethem’s vivid storytelling we come to understand that the personal may be political, but the political, even more so, is personal.

Understanding Jonathan Lethem is a study of the novels, short fiction, and nonfiction on a wide range of subjects in the arts by American novelist Jonathan Lethem, who is the recipient of the National Book Critics Circle Award for Fiction for Motherless Brooklyn, a MacArthur Foundation "genius" grant, and the Locus Award for Best First Novel for Gun, with Occasional Music. Matthew Luter explores the key contemporaries of and influences on Lethem, who is the Roy Edward Disney Professor of Creative Writing at Pomona College. Luter begins this volume by explaining how Lethem's innovative and provocative essay on creative appropriation, "The Ecstasy of Influence," differs from other writing about influence, suggesting an artistic mode that celebrates thoughtful borrowing. Readings of Lethem's three major novels follow: taken together, Motherless Brooklyn, The Fortress of Solitude, and Chronic City present a novelist coming to terms with the joys and downsides of artistic influence. Luter concludes the edition with an examination of Lethem's third collection, Lucky Alan: And Other Stories. Borrowing openly and promiscuously from earlier traditions both high and low (experimental fiction, comic books, art film, detective novels), Lethem displays a career-long interest in questioning what literary originality might mean in a postmodern age. Some suggest that such borrowings indicate a literary well that has run dry, making writers such as Lethem mere patchwork artists. Luter argues instead that Lethem's propensity for wearing his influences and obsessions on his sleeve encourages new thought about originality itself. Out with "it's all been done" and in with "look at all that's been done, and all that we can still do with it!"

Longlisted for the National Book Award for Nonfiction “There Kevin Young goes again, giving us books we greatly need, cleverly disguised as books we merely want. Unexpectedly essential.”—Marlon James Award-winning poet and critic Kevin Young tours us through a rogue’s gallery of hoaxers, plagiarists, forgers, and fakers—from the humbug of P. T. Barnum and Edgar Allan Poe to the unrepentant bunk of JT LeRoy and Donald J. Trump. Bunk traces the history of the hoax as a peculiarly American phenomenon, examining what motivates hucksters and makes the rest of us so gullible. Disturbingly, Young finds that fakery is woven from stereotype and suspicion, race being the most insidious American hoax of all. He chronicles how Barnum came to fame by displaying figures like Joice Heth, a black woman whom he pretended was the 161-year-old nursemaid to George Washington, and What Is It?, an African American man Barnum professed was a newly discovered missing link in evolution. Bunk then turns to the hoaxing of history and the ways that forgers, plagiarists, and journalistic fakers invent backstories and falsehoods to sell us lies about themselves and about the world in our own time, from pretend Native Americans Grey Owl and Nasdijj to the deadly imposture of Clark Rockefeller, from the made-up memoirs of James Frey to the identity theft of Rachel Dolezal. In this brilliant and timely work, Young asks what it means to live in a post-factual world of “truthiness” where everything is up for interpretation and everyone is subject to a pervasive cynicism that damages our ideas of reality, fact, and art.