A beautifully observed narrative of American sport: character, grit, tragedy, unremarked heroism, and, always, the illuminating story behind the story. As a columnist for Time magazine, among many other publications, Tom Callahan witnessed an extraordinary number of defining moments in American sport across four decades. He takes us from Roberto Clemente clinching his 3,000th, and final, regular-season hit in Pittsburgh; to ringside for the Muhammad Ali–George Foreman fight in Zaire; and to Arthur Ashe announcing, at a news conference, that he’d tested positive for HIV. There are also little-known private moments: Joe Morgan whispering thank you to a virtually blind Jackie Robinson on the field at the 1972 World Series, or Kareem Abdul-Jabbar saying he was more interested in being a good man than in being the greatest basketball player. Brimming with colorful vignettes and enlivened by Callahan’s eye for detail, Gods at Play offers surprising portraits of the most celebrated names in sports. Roger Rosenblatt calls Callahan “the most complete sportswriter in America. He knows the most and writes the best."

This book studies the close connections between politics, culture, art, and philosophy in seventeenth-century Europe. As an emblem of this interrelationship, the author has chosen the phenomenon of the "splendid festive performance" of spectacular plays and operas given at absolutist courts in Rome, Madrid, Paris, Versailles, and Vienna between 1631 and 1668. Gods of Play fills voids in the scholarly literature on the seventeenth-century, on absolutism, on courtly theatricality, and on the philosophy of play. Aercke demonstrates that such splendid performances were not just frivolous entertainment for the courtly class but were serious activities with far-ranging political consequences.

God is playful. Like a child building sand castles on the beach, God creates the world and destroys it again. God plays with his (or her) devotees, sometimes like a lover, sometimes like a mother with her children, sometimes like an actor in a play.The idea of God's playfulness has been elaborated in Hinduism more, perhaps, than any other religion, providing one of the most distinctive and charming aspects of Indian religious life. Lila or "divine play" can refer to many things: to God's playful creation of the world and to religious dramas or "plays," as well as to various motifs in Hindu art. But despite the importance of lila in the cultural history of South Asia, few comprehensive studies of it are available, partly because scholars have tended to emphasize only one dimension of lila--either the theological or the performative--at the expense of the other. The Gods at Play fills this gap by bringing together scholarly essays on all aspects of this important Hindu idea, providing students with a broader understanding of popular Hindu culture and religion.

The riveting story of the rivalry between the two most renowned actresses of the nineteenth century: legendary Sarah Bernhardt, whose eccentricity on and off the stage made her the original diva, and mystical Eleonora Duse, who broke all the rules to popularize the natural style of acting we celebrate today. Audiences across Europe and the Americas clamored to see the divine Sarah Bernhardt swoon—and she gave them their money’s worth. The world’s first superstar, she traveled with a chimpanzee named Darwin and a pet alligator that drank champagne, shamelessly supplementing her income by endorsing everything from aperitifs to beef bouillon, and spreading rumors that she slept in a coffin to better understand the macabre heroines she played. Eleonora Duse shied away from the spotlight. Born to a penniless family of itinerant troubadours, she disappeared into the characters she portrayed—channeling their spirits, she claimed. Her new, empathetic style of acting revolutionized the theater—and earned her the ire of Sarah Bernhardt in what would become the most tumultuous theatrical showdown of the nineteenth century. Bernhardt and Duse seduced each other’s lovers, stole one another’s favorite playwrights, and took to the world’s stages to outperform their rival in her most iconic roles. A scandalous, enormously entertaining history full of high drama and low blows, Playing to the Gods is the perfect “book for all of us who binge-watched Feud” (Daniel de Visé, author of Andy & Don: The Making of a Friendship and a Classic American TV Show).

Two significant events, or the recent beginnings of ideas about play-

J-Rod moves like a small tank on the court, his face mean, staring down his opponents. "I play just like my father," he says. "Before my father died, he was a problem on the court. I'm a problem." Playing basketball for him fuses past and present, conjuring his father's memory into a force that opponents can feel in each bone-snapping drive to the basket. On the street, every ballplayer has a story. Onaje X. O. Woodbine, a former streetball player who became an all-star Ivy Leaguer, brings the sights and sounds, hopes and dreams of street basketball to life. He shows that big games have a trickster figure and a master of black talk whose commentary interprets the game for audiences. The beats of hip-hop and reggae make up the soundtrack, and the ballplayers are half-men, half-heroes, defying the ghetto's limitations with their flights to the basket. Basketball is popular among young black American men but not because, as many claim, they are "pushed by poverty" or "pulled" by white institutions to play it. Black men choose to participate in basketball because of the transcendent experience of the game. Through interviews with and observations of urban basketball players, Onaje X. O. Woodbine composes a rare portrait of a passionate, committed, and resilient group of athletes who use the court to mine what urban life cannot corrupt. If people turn to religion to reimagine their place in the world, then black streetball players are indeed the hierophants of the asphalt.

LONGLISTED FOR THE PEN/OPEN BOOK AWARD “Compellingly complex…Expands the future of the immigrant novel even as it holds us in uneasy thrall to the past.” – Gish Jen, New York Times Book Review Combining the emotional resonance of Home Fire with the ambition and innovation of Asymmetry, a lyrical and thought-provoking debut novel that explores the complex web of grief, memory, time, physics, history, and selfhood in the immigrant experience, and the complicated bond between daughters and mothers. On the night of June Fourth, a woman gives birth in a Beijing hospital alone. Thus begins the unraveling of Su Lan, a brilliant physicist who until this moment has successfully erased her past, fighting what she calls the mind’s arrow of time. When Su Lan dies unexpectedly seventeen years later, it is her daughter Liya who inherits the silences and contradictions of her life. Liya, who grew up in America, takes her mother’s ashes to China—to her, an unknown country. In a territory inhabited by the ghosts of the living and the dead, Liya’s memories are joined by those of two others: Zhu Wen, the woman last to know Su Lan before she left China, and Yongzong, the father Liya has never known. In this way a portrait of Su Lan emerges: an ambitious scientist, an ambivalent mother, and a woman whose relationship to her own past shapes and ultimately unmakes Liya’s own sense of displacement. A story of migrations literal and emotional, spanning time, space and class, Little Gods is a sharp yet expansive exploration of the aftermath of unfulfilled dreams, an immigrant story in negative that grapples with our tenuous connections to memory, history, and self.