Tragic, poignant, and at times funny and hopeful, this graphic novel brilliantly conveys the profound challenges that many of today’s veterans face upon returning to civilian life, even as it tells “the oldest war story of all time.” Jack Brennan is a Marine Corps sergeant whose infantry squad has been cleared to return home from a grueling deployment to Afghanistan. A few years prior, Sergeant Brennan lost one of his closest friends—a young combat veteran—to suicide and has vowed to do everything in his power to keep his Marines from a similar fate. On their last night in-country, Brennan, who has long kept a tattered copy of the Odyssey with him on deployment, shares his version of Homer’s classic with his fellow soldiers to help prepare them for the transition back home. Brennan plunges into a rich retelling of Odysseus’s long journey home from the battlefield at Troy, during which Odysseus and his men confront numerous obstacles—from the lure of a psychedelic lotus plant to ghoulish shades in the Land of the Dead to the seductive songs of the deadly Sirens—as they try to make it back to Greece. Along the way, Brennan and his fellow Marines map the struggles faced by Odysseus and his men onto their own—isolation, addiction, guilt, depression, and loss. Through his retelling, Brennan reminds his squad that the gulf separating the battlefield from the home front is deep, wide, and sometimes hard to cross—that it is possible to travel all the way home and, like the characters in the Odyssey, still feel lost at sea.

For years theater director Bryan Doerries has been producing ancient Greek tragedies for a wide range of at-risk people in society. His is the personal and deeply passionate story of a life devoted to reclaiming the timeless power of an ancient artistic tradition to comfort the afflicted. Doerries leads an innovative public health project—Theater of War—that produces ancient dramas for current and returned soldiers, people in recovery from alcohol and substance abuse, tornado and hurricane survivors, and more. Tracing a path that links the personal to the artistic to the social and back again, Doerries shows us how suffering and healing are part of a timeless process in which dialogue and empathy are inextricably linked. The originality and generosity of Doerries’s work is startling, and The Theater of War—wholly unsentimental, but intensely felt and emotionally engaging—is a humane, knowledgeable, and accessible book that will both inspire and enlighten.

President Emerita of the Brooklyn Academy of Music (BAM) Karen Brooks Hopkins pens BAM…and Then It Hit Me, an inspiring memoir of her 36 years at the iconic cultural institution, America's oldest performing arts center. The book has a sharp focus on concepts such as leadership, innovation, urban revitalization (including the transformation of Brooklyn from Manhattan Outpost to the coolest neighborhood on the planet), as highly successful cultural fundraising played critical roles in the colorful evolution of this world-class cultural juggernaut in the performing arts.

Fresh, new translations of Sophocles's three Theban plays by acclaimed theater director Bryan Doerries, which emphasize the contemporary relevance of these classic Greek tragedies. Here are Oedipus the King, Oedipus at Colonus, and Antigone in fresh new versions for contemporary readers and audiences. Each has been the basis for groundbreaking theatrical performances by Theater of War Productions, in which actors present dramatic readings, followed by town hall-style discussions. These forums are designed to confront social issues by evoking raw, personal reactions to themes highlighted in the plays. The Oedipus Project is an innovative digital initiative that presents scenes from Oedipus the King as a catalyst for frank and restorative online conversations about the impact of the COVID-19 pandemic on diverse communities. First performed in 429 BC during the time of a plague that killed one-third of the Athenian population, it is a story of arrogant leadership, ignored prophecy, and a pestilence that ravages the city of Thebes—a story that is as relevant now as it was in its own time. The Oedipus at Colonus Project presents readings of scenes from Sophocles’ final play, Oedipus at Colonus, for powerful, community-driven conversations about homelessness, the immigration and refugee crises, and the challenges of eldercare during and after the pandemic. Antigone in Ferguson is a pioneering project that fuses dramatic readings from Antigone with live choral music, culminating in powerful, healing discussions about race and social justice. Antigone in Ferguson was conceived in the wake of Michael Brown's death in 2014, through a collaboration between Theater of War Productions and community members from Ferguson, Missouri, and premiered at Normandy High School, Michael Brown's alma mater.

What does "being a guy" actually mean? Some of the most talented writers are about to show you. In this diverse and original collection of short stories, ten well-known writers, including Mo Willems, Walter Dean Myers, Ron Koertge, Rene Saldaña, Jr., David Levithan, and David Lubar, share their stories about the trials and tribulations of being a guy. Sometimes funny, sometimes sad, and always honest, each story portrays the reality of being an everyday guy who gets a few life lessons and still manages to come out on top.

These contemporary translations of four Greek tragedies speak across time and connect readers and audiences with universal themes of war, trauma, suffering, and betrayal. Under the direction of Bryan Doerries, they have been performed for tens of thousands of combat veterans, as well as prison and medical personnel around the world. Striking for their immediacy and emotional impact, Doerries brings to life these ancient plays, like no other translations have before.

A mesmerizing, heartbreaking graphic novel of immigrant life on New York’s Lower East Side at the turn of the twentieth century, as seen through the eyes of twin sisters whose lives take radically and tragically different paths. “A haunting and often heartbreaking look at Eastern European Jewish immigrants in the early 20th century [and] also a story about women, power, and bodies.” —Austin American-Statesman For six-year-old Esther and Fanya, the teeming streets of New York’s Lower East Side circa 1910 are both a fascinating playground and a place where life’s lessons are learned quickly and often cruelly. In drawings that capture both the tumult and the telling details of that street life, Unterzakhn (Yiddish for “Underthings”) tells the story of these sisters: as wide-eyed little girls absorbing the sights and sounds of a neighborhood of struggling immigrants; as teenagers taking their own tentative steps into the wider world (Esther working for a woman who runs both a burlesque theater and a whorehouse, Fanya for an obstetrician who also performs illegal abortions); and, finally, as adults battling for their own piece of the “golden land,” where the difference between just barely surviving and triumphantly succeeding involves, for each of them, painful decisions that will have unavoidably tragic repercussions.