Stealing The Language

The story of the beautiful relationship between a little girl and her grandfather. When she asks her grandfather how to say something in his language – Cree – he admits that his language was stolen from him when he was a boy. The little girl then sets out to help her grandfather find his language again. This sensitive and warmly illustrated picture book explores the intergenerational impact of the residential school system that separated young Indigenous children from their families. The story recognizes the pain of those whose culture and language were taken from them, how that pain is passed down, and how healing can also be shared.

Including topics as diverse as feminism and its relationship to the marketplace, plagiarism and copyright, silence and forgetting, and myth in a digital age, this book explores the role of rewriting within feminist literature from the 1970s onwards in relation to the theme of cultural memory.

Diana Abu-Jaber’s vibrant, humorous memoir weaves together delicious food memories that illuminate the two cultures of her childhood—American and Jordanian. Here are stories of being raised by a food-obsessed Jordanian father and tales of Lake Ontario shish kabob cookouts and goat stew feasts under Bedouin tents in the desert. These sensuously evoked repasts, complete with recipes, paint a loving and complex portrait of Diana’s impractical, displaced immigrant father who, like many an immigrant before him, cooked to remember the place he came from and to pass that connection on to his children. The Language of Baklava irresistibly invites us to sit down at the table with Diana’s family, sharing unforgettable meals that turn out to be as much about “grace, difference, faith, love” as they are about food.

Expressivism has been dominating much of the metaethical debate of the past three decades. The aim of this book is to address a number of questions that have been neglected in the previous discussion.These primarily concern the psychological commitments and the methodological status of expressivism as well as important differences and similarities between the approaches of the ‘classic’ expressivists Ayer, Stevenson, Hare, Blackburn und Gibbard.

Baseball is set apart from other sports by many things, but few are more distinctive than the intricate systems of coded language that govern action on the field and give baseball its unique appeal. During a nine-inning game, more than 1,000 silent instructions are given-from catcher to pitcher, coach to batter, fielder to fielder, umpire to umpire-and without this speechless communication the game would simply not be the same. Baseball historian Paul Dickson examines for the first time the rich legacy of baseball's hidden language, offering fans everywhere a smorgasbord of history and anecdote. Whether detailing the origins of the hit-and-run, the true story behind the home run that gave "Home Run" Baker his nickname, Bob Feller's sign-stealing telescope, Casey Stengel's improbable method of signaling his bullpen, the impact of sign stealing on the Giants' miraculous comeback in 1951, or the pitches Andy Pettitte tipped off that altered the momentum of the 2001 World Series, Dickson's research is as thorough as his stories are entertaining. A roster of baseball's greatest names and games, past and present, echoes throughout, making The Hidden Language of Baseball a unique window on the history of our national pastime.

The highly anticipated second collection by Danez Smith—“Hallelujah is an understatement” (Patricia Smith) Award-winning poet Danez Smith is a groundbreaking force, celebrated for deft lyrics, urgent subjects, and performative power. Don’t Call Us Dead opens with a heartrending sequence that imagines an afterlife for black men shot by police, a place where suspicion, violence, and grief are forgotten and replaced with the safety, love, and longevity they deserved here on earth. Smith turns then to desire, mortality—the dangers experienced in skin and body and blood—and a diagnosis of HIV positive. “Some of us are killed / in pieces,” Smith writes, “some of us all at once.” Don’t Call Us Dead is an astonishing and ambitious collection, one that confronts, praises, and rebukes America—“Dear White America”—where every day is too often a funeral and not often enough a miracle.