In the bestselling tradition of bell hooks and Roxane Gay, McMillan Cottom’s freshman collection illuminates a particular trait of her tribe: being thick. In form, and in substance.This bold compendium, likely to find its place on shelves alongside Lindy West, Rebecca Solnit, and Maggie Nelson, dissects everything from beauty to Obama to pumpkin spice lattes. Yet Thick will also fill a void on those very shelves: a modern black American female voice waxing poetic on self and society, serving up a healthy portion of clever prose and southern aphorisms in a style uniquely her own.McMillan Cottom has crafted a black woman’s cultural bible, as she mines for meaning in places many of us miss and reveals precisely how—when you’re in the thick of it—the political, the social, and the personal are almost always one and the same.Thick --In the name of beauty --Dying to be competent --Know your whites --Black is over (or, special black) --The price of fabulousness --Black girlhood, interrupted --Girl 6 --Notes

    She engages with such wide-ranging topics as race, parenthood, love, mental illness, poverty, sexual assault, gentrifcation, writing and representation, and in the process makes connections both large and small between the past and present, the personal and political--from overcoming a years-long battle with head lice to the way Native writers are treated within the Canadian literary industry; her unplanned teenage pregnancy to the history of dark matter and how it relates to racism in the court system; her childhood diet of Kraft Dinner to how systemic oppression is directly linked to health problems in Native communities.With deep consideration and searing prose, Elliott provides a candid look at our past, an illuminating portrait of our present and a powerful tool for a better future.

    Seventeen years after their last album, they resurrected themselves with an intense, socially conscious record, We Got It from Here . . . Thank You 4 Your Service, which arrived when fans needed it most, in the aftermath of the 2016 election. Poet and essayist Hanif Abdurraqib digs into the group's history and draws from his own experience to reflect on how its distinctive sound resonated among fans like himself. The result is as ambitious and genre-bending as the rap group itself.Abdurraqib traces the Tribe's creative career, from their early days as part of the Afrocentric rap collective known as the Native Tongues, through their first three classic albums, to their eventual breakup and long hiatus. Their work is placed in the context of the broader rap landscape of the 1990s, one upended by sampling laws that forced a reinvention in production methods, the East Coast-West Coast rivalry that threatened to destroy the genre, and some record labels' shift from focusing on groups to individual MCs. Throughout the narrative Abdurraqib connects the music and cultural history to their street-level impact. Whether he's remembering The Source magazine cover announcing the Tribe's 1998 breakup or writing personal letters to the group after bandmate Phife Dawg's death, Abdurraqib seeks the deeper truths of A Tribe Called Quest; truths that--like the low end, the bass--are not simply heard in the head, but felt in the chest.

     When Brian Doyle died of brain cancer at the age of sixty, he left behind dozens of books -- fiction and nonfiction, as well as hundreds of essays -- and a cult-like following who regarded his writing on spirituality as one of the best-kept secrets of the 21st century. Though Doyle occasionally wrote about Catholic spirituality, his writing is more broadly about the religion of everyday things. He writes with a delightful sense of wonder about the holiness of small things, and about love in all its forms: spiritual love, brotherly love, romantic love, friendly love, love of nature, and even the love of a nine-foot sturgeon. At a time when our world feels darker than ever, Doyle's essays are a balm for the tired soul. He finds beauty in the quotidian: the awe of a child the first time she hears a river, the whiskers a grieving widow misses seeing in her sink every day -- but through his eyes, nothing is ordinary. David James Duncan sums up Doyle's sensibilities best in his introduction to the collection: "Brian Doyle lived the pleasure of bearing daily witness to the glories hidden in people, places and creatures of little or no size or renown, and brought inimitably playful or soaring or aching or heartfelt language to his tellings." In a time when wonder seems to be in short supply, One Long River of Song, Doyle and Duncan invite readers to experience it in the most ordinary of moments, and allow themselves joy in the smallest of things.

     In Our Women on the Ground, nineteen of these women tell us, in their own words, about what it's like to report on conflicts that are (quite literally) close to home. From sexual harassment on the streets of Cairo to the impossibility of traveling without a male relative in Yemen, their challenges are unique—as are their advantages, such as being able to speak candidly with other women or gain entry to places that an outsider would never be able to access. Their daring, shocking, and heartfelt stories, told here for the first time, shatter stereotypes about Arab women and provide an urgently needed perspective on a part of the world that is often misunderstood. INCLUDING ESSAYS BY: Donna Abu-Nasr, Aida Alami, Hannah Allam, Jane Arraf, Lina Attalah, Nada Bakri, Shamael Elnoor, Zaina Erhaim, Asmaa al-Ghoul, Hind Hassan, Eman Helal, Zeina Karam, Roula Khalaf, Nour Malas, Hwaida Saad, Amira Al-Sharif, Heba Shibani, Lina Sinjab, and Natacha Yazbeck

    With the author's characteristic eloquence and honesty, I Hope We Choose Love proposes heartfelt solutions on the topics of violence, complicity, family, vengeance, and forgiveness. Taking its cues from contemporary thought leaders in the transformative justice movement such as adrienne maree brown and Leah Lakshmi Piepzna-Samarasinha, this provocative book is a call for nuance in a time of political polarization, for healing in a time of justice, and for love in an apocalypse.

    Inside, storytellers from around the world share times when, in the face of seemingly impossible situations, they found moments of beauty, wonder, and clarity that shed light on their lives and helped them find a path forward.From a fifteen-year-old saving a life in Chicago to a mother of triplets trekking to the North Pole to a ninety-year-old Russian man recalling his standoff with the KGB, these storytellers attest to the variety and richness of the human experience, and the shared threads that connect us all. With honesty and humor, they stare down their fear, embrace uncertainty, and encourage us all to be more authentic, vulnerable, and alive.

    Houston’s ranch becomes her sanctuary, a place where she discovers how the natural world has mothered and healed her after a childhood of parental abuse and neglect.In a work as lucid and invigorating as mountain air, Deep Creek delivers Houston’s most profound meditations yet on how “to live simultaneously inside the wonder and the grief . . . to love the damaged world and do what I can to help it thrive.”

    Drawing on the black feminist tradition, including Audre Lourde’s invitation to use the erotic as power and Toni Cade Bambara’s exhortation that we make the revolution irresistible, the contributors to this volume take up the challenge to rethink the ground rules of activism. Writers including Cara Page of the Astraea Lesbian Foundation For Justice, Sonya Renee Taylor, founder of This Body Is Not an Apology, and author Alexis Pauline Gumbs cover a wide array of subjects— from sex work to climate change, from race and gender to sex and drugs—creating new narratives about how politics can feel good and how what feels good always has a complex politics of its own.Building on the success of her popular Emergent Strategy, brown launches a new series of the same name with this volume, bringing readers books that explore experimental, expansive, and innovative ways to meet the challenges that face our world today. Books that find the opportunity in every crisis!

    Four years later, she and her mother joined her father in Stillwater, Oklahoma —a move that would be anxiety ridden for any child, but especially for Bassey. Her early years in America would come to be defined by tension: an assimilation further complicated by bipolar II and anxiety that would go undiagnosed for decades.By the time she was in her early twenties, Bassey was a spoken word artist and traveling with HBO's Russell Simmons Def Poetry Jam, channeling her experiences into art. But something wasn’t right—beneath the façade of the confident performer, Bassey’s mental health was in a precipitous decline, culminating in a breakdown that resulted in hospitalization and a diagnosis of Bipolar II.Determined to learn from her experiences—and share them with others—Bassey became a mental health advocate and has spent the fourteen years since her diagnosis examining the ways mental health is inextricably intertwined with every facet of ourselves and our lives. Viscerally raw and honest, the result is an exploration of the stories we tell ourselves to make sense of who we are—and the ways, as honest as we try to be, each of these stories can also be a lie.

     Stretching between these figures is a cast of artists, writers, and scientists--mostly women, mostly queer--whose public contribution has risen out of their unclassifiable and often heartbreaking private relationships to change the way we understand, experience, and appreciate the universe. Among them are the astronomer Maria Mitchell, who paved the way for women in science; the sculptor Harriet Hosmer, who did the same in art; the journalist and literary critic Margaret Fuller, who sparked the feminist movement; and the poet Emily Dickinson.Emanating from these lives are larger questions about the measure of a good life and what it means to leave a lasting mark of betterment on an imperfect world: Are achievement and acclaim enough for happiness? Is genius? Is love? Weaving through the narrative is a set of peripheral figures--Ralph Waldo Emerson, Charles Darwin, Elizabeth Barrett Browning, Herman Melville, Frederick Douglass, Nathaniel Hawthorne, and Walt Whitman--and a tapestry of themes spanning music, feminism, the history of science, the rise and decline of religion, and how the intersection of astronomy, poetry, and Transcendentalist philosophy fomented the environmental movement.

    Here, in brief essays, she traces a tender and honest portrait of her complicated parents--her exuberant, creative mother; her steady, supportive father--and of the bittersweet moments that accompany a child's transition to caregiver.And here, braided into the overall narrative, Renkl offers observations on the world surrounding her suburban Nashville home. Ringing with rapture and heartache, these essays convey the dignity of bluebirds and rat snakes, monarch butterflies and native bees. As these two threads haunt and harmonize with each other, Renkl suggests that there is astonishment to be found in common things: in what seems ordinary, in what we all share. For in both worlds--the natural one and our own--"the shadow side of love is always loss, and grief is only love's own twin."Illustrated by the author's brother, Billy Renkl, Late Migrations is an assured and memorable debut.

    It is divided into three parts: the first is introduced by a powerful prayer for the dead of 9/11; the second by a searching meditation on Martin Luther King Jr., and the last by a heart-wrenching eulogy for James Baldwin. In the writings and speeches included here, Morrison takes on contested social issues: the foreigner, female empowerment, the press, money, "black matter(s)," and human rights. She looks at enduring matters of culture: the role of the artist in society, the literary imagination, the Afro-American presence in American literature, and in her Nobel lecture, the power of language itself. And here too is piercing commentary on her own work (including The Bluest Eye, Sula, Tar Baby, Jazz, Beloved, and Paradise) and that of others, among them, painter and collagist Romare Bearden, author Toni Cade Bambara, and theater director Peter Sellars. In all, The Source of Self-Regard is a luminous and essential addition to Toni Morrison's oeuvre.

    Mariam felt pretty sure she didn’t know a single Muslim woman who would describe herself that way. Why was she hearing about Muslim women from people who were neither Muslim, nor female?Years later the state of the national discourse has deteriorated even further, and Muslim women’s voices are still pushed to the fringes – the figures leading the discussion are white and male.Taking one of the most politicized and misused words associated with Muslim women and Islamophobia, It’s Not About the Burqa is poised to change all that. Here are voices you won’t see represented in the national news headlines: seventeen Muslim women speaking frankly about the hijab and wavering faith, about love and divorce, about feminism, queer identity, sex, and the twin threats of a disapproving community and a racist country. Funny, warm, sometimes sad, and often angry, each of these essays is a passionate declaration, and each essay is calling time on the oppression, the lazy stereotyping, the misogyny and the Islamophobia.What does it mean, exactly, to be a Muslim woman in the West today? According to the media, it’s all about the burqa.Here’s what it’s really about.

    Their most recent book, Tomboy Survival Guide, was shortlisted for the Hilary Weston Writers' Trust of Canada Prize for Non-Fiction and was named an American Library Association Stonewall Honor Book.In their latest, Ivan takes on the patriarchy and the political, as well as the intimate and the personal in these beguiling and revealing stories of what it means to be trans and non-binary today, at a time in their life when they must carry the burden of heartbreaking history with them, while combatting those who would misgender them or deny their very existence. These stories span thirty years of tackling TERFs, legislators, and bathroom police, sure, but there is joy and pleasure and triumph to be found here too, as Ivan pays homage to personal heroes like Leslie Feinberg and Ferron while gently guiding younger trans folk to prove to themselves that there is a way out of the darkness.Rebent Sinner is the work of an accomplished artist whose plain truths about their experience will astound readers with their utter, breathtaking humanity.

    His is a meditation on delight that takes a clear-eyed view of the complexities, even the terrors, in his life, including living in America as a black man; the ecological and psychic violence of our consumer culture; the loss of those he loves. Among Gay’s funny, poetic, philosophical delights: the way Botan Rice Candy wrappers melt in your mouth, the volunteer crossing guard with a pronounced tremor whom he imagines as a kind of boat-woman escorting pedestrians across the River Styx, a friend’s unabashed use of air quotes, pickup basketball games, the silent nod of acknowledgment between black people. And more than any other subject, Gay celebrates the beauty of the natural world—his garden, the flowers in the sidewalk, the birds, the bees, the mushrooms, the trees.This is not a book of how-to or inspiration, though it could be read that way. Fans of Roxane Gay, Maggie Nelson, and Kiese Laymon will revel in Gay’s voice, and his insights. The Book of Delights is about our connection to the world, to each other, and the rewards that come from a life closely observed. Gay’s pieces serve as a powerful and necessary reminder that we can, and should, stake out a space in our lives for delight.

    A man's promising fourth date ends in the emergency room. A female lawyer with bipolar disorder experiences the highs and lows of dating. A widower hesitates about introducing his children to his new girlfriend. A divorcée in her seventies looks back at the beauty and rubble of past relationships.These are just a few of the people who tell their stories in Modern Love, Revised and Updated, featuring dozens of the most memorable essays to run in The New York Times "Modern Love" column since its debut in 2004.Some of the stories are unconventional, while others hit close to home. Some reveal the way technology has changed dating forever; others explore the timeless struggles experienced by anyone who has ever searched for love. But all of the stories are, above everything else, honest. Together, they tell the larger story of how relationships begin, often fail, and--when we're lucky--endure.Edited by longtime "Modern Love" editor Daniel Jones and featuring a diverse selection of contributors--including Mindy Hung, Trey Ellis, Ann Hood, Deborah Copaken, Terri Cheney, and more--this is the perfect book for anyone who's loved, lost, stalked an ex on social media, or pined for true romance: In other words, anyone interested in the endlessly complicated workings of the human heart.

    In this much-anticipated follow-up to the bestselling UK edition, hailed by Zadie Smith as "lively and vital," editors Nikesh Shukla and Chimene Suleyman hand the microphone to an incredible range of writers whose humanity and right to be here is under attack. Chigozie Obioma unpacks an Igbo proverb that helped him navigate his journey to America from Nigeria.Jenny Zhang analyzes cultural appropriation in 90s fashion, recalling her own pain and confusion as a teenager trying to fit in.Fatimah Asghar describes the flood of memory and emotion triggered by an encounter with an Uber driver from Kashmir.Alexander Chee writes of a visit to Korea that changed his relationship to his heritage.These writers, and the many others in this singular collection, share powerful personal stories of living between cultures and languages while struggling to figure out who they are and where they belong. By turns heartbreaking and hilarious, troubling and uplifting, the essays in The Good Immigrant come together to create a provocative, conversation-sparking, multivocal portrait of America now.

    In these intimate and entertaining essays, Rose Lu takes us through personal history – a shopping trip with her Shanghai-born grandparents, her career in the Wellington tech industry, an epic hike through the Himalayas – to explore friendship, the weight of stories told and not told about diverse cultures, and the reverberations of our parents’ and grandparents’ choices. Frank and compassionate, Rose Lu’s stories illuminate the cultural and linguistic questions that migrants face, as well as what it is to be a young person living in 21st-century Aotearoa New Zealand.

    In Whose Story Is This? Rebecca Solnit appraises what's emerging and why it matters and what the obstacles are.

    By confusing ideas around fiction and autobiography, Phillips writes with painful sincerity about shame, addiction, trauma, and the more troubling outreaches of sexual desire, with wit that is at odds with the subject matter. "Searingly honest, brilliant and disturbing . Brad Phillips peels back the skin and bone and stares right into the human soul." —Anthony Bourdain"Brad Phillips says, at the beginning of this incredible book, that honesty eludes him. Obviously, that’s a lie. When you read Brad Phillips, you understand why nice women write love letters to men on death row." —Sarah Nicole Prickett"Last week, Giancarlo Di Trapano turned me on to Suicidal Realism, a short memoir by the Canadian painter Brad Phillips. It’s not exactly an edifying book. Phillips’s main themes are drugs and sex, in that order: “People who like to get fucked up with other people are not people I like to get fucked up with.” But Phillips has a watchful intelligence and self-knowledge, and an impatient sincerity, that sneak up on you (or at least, snuck up on me). He doesn’t ask to be liked, even by his groupies, but he does want to communicate: “I’m not interested in the ones who are drawn to the creator of the work, I’m interested in the ones who are drawn to the content.” —The Paris Review

    She sizes up the continuing assaults on America's public lands and the erosion of our commitment to the open space of democracy. She asks: "How do we find the strength to not look away from all that is breaking our hearts?"We know the elements of erosion: wind, water, and time. They have shaped the spectacular physical landscape of our nation. Here, Williams bravely and brilliantly explores the many forms of erosion we face: of democracy, science, compassion, and trust. She examines the dire cultural and environmental implications of the gutting of Bear Ears National Monument—sacred lands to Native Peoples of the American Southwest; of the undermining of the Endangered Species Act; of the relentless press by the fossil fuel industry that has led to a panorama in which "oil rigs light up the horizon." And she testifies that the climate crisis is not an abstraction, offering as evidence the drought outside her door and, at times, within herself.These essays are Williams's call to action, blazing a way forward through difficult and dispiriting times. We will find new territory—emotional, geographical, communal. The erosion of desert lands exposes the truth of chnage. What has been weathered, worn, and whittled away is as powerful as what remains. Our undoing is also our becoming.Erosion is a book for this moment, political and spiritual at once, written by one of our greatest naturalists, essayists, and defenders of the environment. She reminds us that beauty is its own form of resistance, and that water can crack stone.Preface: The turquoise triangle --Map of Bears Ears and Grand Staircase-Escalante National Monuments --The cutting edge of time: erosion of home --What love looks like: erosion of safety --This moment: erosion of democracy --Boom: erosion of belief --Coda: The liturgy of home

    Schizophrenia is not a single unifying diagnosis, and Esme Weijun Wang writes not just to her fellow members of the "collected schizophrenias" but to those who wish to understand it as well. Opening with the journey toward her diagnosis of schizoaffective disorder, Wang discusses the medical community's own disagreement about labels and procedures for diagnosing those with mental illness, and then follows an arc that examines the manifestations of schizophrenia in her life. In essays that range from using fashion to present as high-functioning to the depths of a rare form of psychosis, and from the failures of the higher education system and the dangers of institutionalisation to the complexity of compounding factors such as PTSD and Lyme disease, Wang's analytical eye, honed as a former lab researcher at Stanford, allows her to balance research with personal narrative. An essay collection of undeniable power, The Collected Schizophrenias dispels misconceptions and provides insight into a condition long misunderstood.

    In this thought-provoking and moving collection of fourteen essays, gal-dem's writers use raw material from their teenage years – diaries, poems and chat histories – to explore growing up. gal-dem have been described by the Guardian as "the agents of change we need", and these essays tackle important subjects including race, gender, mental health and activism, making this essential reading for any young person.

    From the moment powerful men started falling to the #MeToo movement, the lamentations began: this is feminism gone too far, this is injustice, this is a witch hunt. In The Witches Are Coming, firebrand author of the New York Times bestselling memoir and now critically acclaimed Hulu TV series Shrill, Lindy West, turns that refrain on its head. You think this is a witch hunt? Fine. You’ve got one.In a laugh-out-loud, incisive cultural critique, West extolls the world-changing magic of truth, urging readers to reckon with dark lies in the heart of the American mythos, and unpacking the complicated, and sometimes tragic, politics of not being a white man in the twenty-first century. She tracks the misogyny and propaganda hidden (or not so hidden) in the media she and her peers devoured growing up, a buffet of distortions, delusions, prejudice, and outright bullsh*t that has allowed white male mediocrity to maintain a death grip on American culture and politics-and that delivered us to this precarious, disorienting moment in history.West writes, “We were just a hair’s breadth from electing America’s first female president to succeed America’s first black president. We weren’t done, but we were doing it. And then, true to form—like the Balrog’s whip catching Gandalf by his little gray bootie, like the husband in a Lifetime movie hissing, ‘If I can’t have you, no one can’—white American voters shoved an incompetent, racist con man into the White House.”We cannot understand how we got here-how the land of the free became Trump’s America—without examining the chasm between who we are and who we think we are, without fact—checking the stories we tell ourselves about ourselves and each other. The truth can transform us; there is witchcraft in it. Lindy West turns on the light.

    Watkins, New York Times bestselling author of The Cook Up and The Beast Side lays bare the voices of the most vulnerable and allows their raw, intimate stories to uncover the systematic injustice threaded within our society. Honest and eye-opening, We Speak for Ourselves makes us listen, feel, and create a course toward change that starts right where we are.Watkins introduces you to Down Bottom, the storied community of East Baltimore that holds a mirror to America’s poor black neighborhoods—“hoods” that could just as easily be in Chicago, Detroit, Oakland, or Atlanta. As Watkins sees it, the perspective of people who live in economically disadvantaged black communities is largely absent from the commentary of many top intellectuals who speak and write about race. Unapologetic and sharp-witted, D. Watkins is here to tell the truth as he has seen it. We Speak for Ourselves offers an in-depth analysis of inner-city hurdles and honors the stories therein. We sit in underfunded schools, walk the blocks burdened with police corruption, stand within an audience of Make America Great Again hats, journey from trap house to university lecture, and rally in neglected streets. And we listen. Watkins shares the lessons he has learned while navigating through two very distinct worlds—the hood and the elite sanctums of prominent black thinkers and public figures—serving hope to fellow Americans who are too often ignored and calling on others to examine what it means to be a model activist in today’s world. We Speak for Ourselves is a must-read for all who are committed to social change.

    But all rage isn't created equal. Who gets to be angry? (If there's now space for cis white women's anger, what about black women? Trans women?) How do women express their anger? And what will they do with it-individually and collectively? In Burn It Down, a diverse group of women authors explore their rage-from the personal to the systemic, the unacknowledged to the public. One woman describes her rage at her own body when she becomes ill with no explanation. Another writes of the anger she inherits from her father. One Pakistani American writes, "To openly express my anger would be too American," and explains why. Broad-ranging and cathartic, Burn It Down is essential reading for any woman who has burned with rage but questioned if she is entitled to express it.

    Following an appearance to promote one of his books on The Daily Show, he was invited to return as a contributor, serving as the show's "Resident Expert" and "Deranged Millionaire." This led to an unexpected and, frankly, implausible career in front of the camera.In these pages, Hodgman explores the strangeness of his career, speaking plainly of fame, especially at the weird, marginal level he has enjoyed--not only the surreal excitement of it, but also the drudgery of it, the emptiness of the status it conveys, and the hard moments of losing that status.Through these stories you will learn many things, such as what it's like to be invited to become an honorary member of an Ivy League secret society, only to be hazed and humiliated by the dapper young members of that club. Or how it feels when your TV gig is cancelled and you can console yourself with the fact that all of that travel that made your children feel so sad and abandoned at least left you with a prize: Platinum Medallion Status with your airline.

    But a physician’s incorrect diagnosis will always be a matter of life and death. Dr. Baticulon’s dispatches from the country’s leading public hospital are told in language that requires no further acrobatics. How do you tell a mother that the smiling ten-year-old boy in her arms will not survive the following week? How do you tell a little girl she’ll never be able to go home to play because her parents can’t afford P54,000 for her surgery? How do you live with yourself after breaking a promise to save an eight-year-old boy’s life? Like the trenches of war zones, the operating room is the frontline of life’s most difficult questions. Here are a neurosurgeon’s gripping ruminations on hope and loss."—Lourd De Veyra"Ronnie Baticulon follows in the footsteps of many other physicians for whom the task of understanding and healing humanity did not stop at the clinic or the operating room. They used words and language not only for their patients but also for themselves—a long and distinguished line from Rabelais, Chekhov, and Maugham to Michael Crichton, Richard Selzer, Oliver Sacks, and of course our own Jose Rizal and Arturo Rotor. Dr. Baticulon is a worthy addition to that tradition."—Jose Y. Dalisay Jr.

    The act of possessing black skin while searching for space to breathe in America is enough to induce a ceaseless state of angst where questions such as “How should I react here, as a professional black person?” and “Will this white person’s potato salad kill me?” are forever relevant.What Doesn’t Kill You Makes You Blacker chronicles Young’s efforts to survive while battling and making sense of the various neuroses his country has given him.It’s a condition that’s sometimes stretched to absurd limits, provoking the angst that made him question if he was any good at the “being straight” thing, as if his sexual orientation was something he could practice and get better at, like a crossover dribble move or knitting; creating the farce where, as a teen, he wished for a white person to call him a racial slur just so he could fight him and have a great story about it; and generating the surreality of watching gentrification transform his Pittsburgh neighborhood from predominantly Black to “Portlandia . . . but with Pierogies.”  And, at its most devastating, it provides him reason to believe that his mother would be alive today if she were white.From one of our most respected cultural observers, What Doesn’t Kill You Makes You Blacker is a hilarious and honest debut that is both a celebration of the idiosyncrasies and distinctions of Blackness and a critique of white supremacy and how we define masculinity.

    For a single mother living paycheck to paycheck who had always been the caregiver rather than the one needing care, the catastrophic illness was both a crisis and an initiation into new ideas about mortality and the gendered politics of illness.A twenty-first-century Illness as Metaphor, as well as a harrowing memoir of survival, The Undying explores the experience of illness as mediated by digital screens, weaving in ancient Roman dream diarists, cancer hoaxers and fetishists, cancer vloggers, corporate lies, John Donne, pro-pain ”dolorists,” the ecological costs of chemotherapy, and the many little murders of capitalism. It excoriates the pharmaceutical industry and the bland hypocrisies of ”pink ribbon culture” while also diving into the long literary line of women writing about their own illnesses and ongoing deaths: Audre Lorde, Kathy Acker, Susan Sontag, and others.A genre-bending memoir in the tradition of The Argonauts, The Undying will break your heart, make you angry enough to spit, and show you contemporary America as a thing both desperately ill and occasionally, perversely glorious.

    One of the chapters, for example, answers which race Kevin Costner was able to white savior the best, because did you know that he white saviors Mexicans in McFarland, USA, and white saviors Native Americans in Dances with Wolves, and white saviors Black people in Black or White, and white saviors the Cleveland Browns in Draft Day? Another of the chapters, for a second example, answers what other high school movie characters would be in Regina George's circle of friends if we opened up the Mean Girls universe to include other movies (Johnny Lawrence is temporarily in, Claire from The Breakfast Club is in, Ferris Bueller is out, Isis from Bring It On is out...). Another of the chapters, for a third example, creates a special version of the Academy Awards specifically for rom-coms, the most underrated movie genre of all. And another of the chapters, for a final example, is actually a triple chapter that serves as an NBA-style draft of the very best and most memorable moments in gangster movies. Many, many things happen in Movies (And Other Things), some of which funny, others of which are sad, a few of which are insightful, and all of which are handled with the type of care and dedication to the smallest details and pockets of pop culture that only a book by Shea Serrano can provide.

    This is a book about the incentives that shape us, and about how hard it is to see ourselves clearly in a culture that revolves around the self. In each essay, Jia writes about the cultural prisms that have shaped her: the rise of the nightmare social internet; the American scammer as millennial hero; the literary heroine’s journey from brave to blank to bitter; the mandate that everything, including our bodies, should always be getting more efficient and beautiful until we die.

    A map, a tracing of connections and a guide to looking at things from different angles. How do you tell the story of life that is no one thing? How do you tell the story of a life in a body, as it goes through sickness, health, motherhood? And how do you tell that story when you are not just a woman but a woman in Ireland? In these powerful and daring essays, Sinead Gleeson does that very thing. In doing so she delves into a range of subjects: art, illness, ghosts, grief, and our very ways of seeing. In writing that is in tradition of some of our finest writers such as Olivia Laing, Maggie O'Farrell, and Maggie Nelson, and yet still in her own spirited, warm voice, Gleeson takes us on a journey that is both personal and yet universal in its resonance.

    . .'Tucked away along a shady path towards the north-east edge of Hampstead Heath is a sign: Women Only. This is the Kenwood Ladies' Bathing Pond. Officially opened to the public in 1925, it is the only wild swimming spot in the UK that is reserved for women.Created centuries ago, the Heath's chain of ponds are one of the sources of the River Fleet that runs subterraneously through London. Swimming in the Ladies' Pond's green, silty, silky waters, it's hard to avoid the feeling that you are moving through history and outside of time.On a hot summer's day, thousands of swimmers from eight to eighty-odd can be found queuing to take a dip before sunbathing in the adjoining meadow. In the cooler months, when the water temperature plummets, the Pond is still visited daily by hardy regulars, many of whom have been swimming there for decades.Combining personal reminiscence with reflections on the history of the place over the years and through the seasons, for the first time this collection brings together writers' impressions of the Pond.

    “Good food writing evokes the senses,” writes Samin Nosrat, best-selling author of Salt, Fat, Acid, Heat and star of the Netflix adaptation of the book. “It makes us consider divergent viewpoints. It makes us hungry and motivates us to go out into the world in search of new experiences. It charms and angers us, breaks our hearts, and gives us hope. And perhaps most importantly, it creates empathy within us.” Whether it’s the dizzying array of Kit Kats in Japan, a reclamation of the queer history of tapas, or a spotlight on a day in the life of a restaurant inspector, the work in The Best American Food Writing 2019 will inspire you to pick up a knife and start chopping, but also to think critically about what you’re eating and how it came to your plate, while still leaving you clamoring for seconds.

    In this sharp and candid collection of essays, first-generation American Jennine Capó Crucet explores the condition of finding herself a stranger in the country where she was born.Raised in Miami and the daughter of Cuban refugees, Crucet examines the political and personal contours of American identity and the physical places where those contours find themselves smashed: be it a rodeo town in Nebraska, a university campus in upstate New York, or Disney World in Florida.Crucet illuminates how she came to see her exclusion from aspects of the theoretical American Dream, despite her family’s attempts to fit in with white American culture—beginning with their ill-fated plan to name her after the winner of the Miss America pageant.In prose that is both fearless and slyly humorous, My Time Among the Whites examines the sometimes hopeful, sometimes deeply flawed ways in which many Americans have learned to adapt, exist, and―in the face of all signals saying otherwise―perhaps even thrive in a country that never imagined them here.

    Everything in Its Place is a celebration of Sacks's myriad interests, all told with his characteristic compassion, erudition, and luminous prose. From the celebrated case history of Spalding Gray that appeared in The New Yorker four months before his death to reflections on mental asylums; from piercing accounts of Schizophrenia to a reminiscence of Robin Williams; from the riveting tale of a medical colleague falling victim to Alzheimer's to the cinematography of Michael Powell, this volume celebrates and reflects the wondrous curiosity of Oliver Sacks.

    Taken together, the essays speak in a voice of unique spirit, marked by compassion, clarity, and courage. Radical and superbly readable, they speak always in defense of the collective, of the individual and of the land, in the face of the destructive logic of financial, social, religious, military, and governmental elites.

    A writer who surpassed his contemporaries in vision, originality, and literary mastery. A man who wrote like an angel, putting it all so much better than anyone else.Is this Shakespeare? Well, sort of.But it doesn't tell us the whole truth. So much of what we say about Shakespeare is either not true, or just not relevant. Now, Emma Smith - an intellectually, theatrically, and ethically exciting writer - takes us into a world of politicking and copycatting, as we watch Shakespeare emulating the blockbusters of Christopher Marlowe and Thomas Kyd, the Spielberg and Tarantino of their day; flirting with and skirting round the cutthroat issues of succession politics, religious upheaval, and technological change. Smith writes in strikingly modern ways about individual agency, privacy, politics, celebrity, and sex, and the Shakespeare she reveals in this book poses awkward questions rather than offering bland answers, always implicating us in working out what it might mean.

    From the thawing tundra linking a Yup'ik village in Alaska to its hunter-gatherer past to the shifting sand dunes revealing the impressively preserved homes of neolithic farmers in Scotland, Jamie explores how the changing natural world can alter our sense of time. Most movingly, she considers, as her father dies and her children leave home, the surfacing of an older, less tethered sense of herself. In precise, luminous prose, Surfacing offers a profound sense of time passing and an antidote to all that is instant, ephemeral, unrooted.

    In Essays I, Davis has, for the first time, gathered a selection of essays, commentaries, and lectures composed over the past five decades.In this first of two volumes, her subjects range from her earliest influences to her favorite short stories, from John Ashbery's translation of Rimbaud to Alan Cote's painting, and from the Shepherd's Psalm to early tourist photographs.

    From music and fashion to activism and language, black culture constantly achieves worldwide influence. Yet, when it comes to who is allowed to thrive from black hipness, the pioneers are usually left behind as black aesthetics are converted into mainstream success—and white profit. Weaving together narrative, scholarship, and critique, Lauren Michele Jackson reveals why cultural appropriation—something that’s become embedded in our daily lives—deserves serious attention. It is a blueprint for taking wealth and power, and ultimately exacerbates the economic, political, and social inequity that persists in America. She unravels the racial contradictions lurking behind American culture as we know it—from shapeshifting celebrities and memes gone viral to brazen poets, loveable potheads, and faulty political leaders.An audacious debut, White Negroes brilliantly summons a re-interrogation of Norman Mailer’s infamous 1957 essay of a similar name. It also introduces a bold new voice in Jackson. Piercing, curious, and bursting with pop cultural touchstones, White Negroes is a dispatch in awe of black creativity everywhere and an urgent call for our thoughtful consumption.

    In this groundbreaking book, thirty authors highlight how our experiences are shaped by a deeply entrenched gender binary.The powerful first-person narratives of this collection show us a world where gender exists along a spectrum, a web, a multidimensional space. Nuanced storytellers break away from mainstream portrayals of gender diversity, cutting across lines of age, race, ethnicity, ability, class, religion, family, and relationships. From Suzi, who wonders whether she’ll ever “feel” like a woman after living fifty years as a man, to Aubri, who grew up in a cash-strapped fundamentalist household, to Sand, who must reconcile the dual roles of trans advocate and therapist, the writers’ conceptions of gender are inextricably intertwined with broader systemic issues. Labeled gender outlaws, gender rebels, genderqueer, or simply human, the voices in Nonbinary illustrate what life could be if we allowed the rigid categories of “man” and “woman” to loosen and bend. They speak to everyone who has questioned gender or has paused to wonder, What does it mean to be a man or a woman—and why do we care so much?

    “Think Little” is presented here alongside one of Berry’s most popular and personal essays, “A Native Hill.” This gentle essay of recollection is told alongside a poetic lesson in geography, as Berry explains at length and in detail, that what he stands for is what he stands on.Each palm-size book in the Counterpoints series is meant to stay with you, whether safely in your pocket or long after you turn the last page. From short stories to essays to poems, these little books celebrate our most-beloved writers, whose work encapsulates the spirit of Counterpoint Press: cutting-edge, wide-ranging, and independent.

    Speaking not only to those with disabilities, but also to their families, coworkers and support networks, the authors in About Us offer intimate stories of how they navigate a world not built for them.Since its 2016 debut, the popular New York Times’ “Disability” column has transformed the national dialogue around disability. Now, echoing the refrain of the disability rights movement, “Nothing about us without us,” this landmark collection gathers the most powerful essays from the series that speak to the fullness of human experience—stories about first romance, childhood shame and isolation, segregation, professional ambition, child-bearing and parenting, aging and beyond.Reflecting on the fraught conversations around disability—from the friend who says “I don’t think of you as disabled,” to the father who scolds his child with attention differences, “Stop it stop it stop it what is wrong with you?”—the stories here reveal the range of responses, and the variety of consequences, to being labeled as “disabled” by the broader public.Here, a writer recounts her path through medical school as a wheelchair user—forging a unique bridge between patients with disabilities and their physicians. An acclaimed artist with spina bifida discusses her art practice as one that invites us to “stretch ourselves toward a world where all bodies are exquisite.” With these notes of triumph, these stories also offer honest portrayals of frustration over access to medical care, the burden of social stigma and the nearly constant need to self-advocate in the public realm.In its final sections, About Us turns to the questions of love, family and joy to show how it is possible to revel in life as a person with disabilities. Subverting the pervasive belief that disability results in relentless suffering and isolation, a quadriplegic writer reveals how she rediscovered intimacy without touch, and a mother with a chronic illness shares what her condition has taught her young children.With a foreword by Andrew Solomon and introductory comments by co-editors Peter Catapano and Rosemarie Garland-Thomson, About Us is a landmark publication of the disability movement for readers of all backgrounds, forms and abilities.Topics Include: Becoming Disabled • Mental Illness is not a Horror Show • Disability and the Right to Choose • Brain Injury and the Civil Right We Don’t Think • The Deaf Body in Public Space • The Everyday Anxiety of the Stutterer • I Use a Wheelchair. And Yes, I’m Your Doctor • A Symbol for “Nobody” That’s Really for Everybody • Flying While Blind • My $1,000 Anxiety Attack • A Girlfriend of My Own • The Three-Legged Dog Who Carried Me • Passing My Disability On to My Children • I Have Diabetes. Am I to Blame? • Learning to Sing Again • A Disabled Life is a Life Worth Living

    Curvy. Fluffy. Plus-size. Thick. Fat. The time has come for fat people to tell their own stories. The (Other) F Word combines personal essays, prose, poetry, fashion tips, and art to create a relatable and attractive guide about body image and body positivity. This YA crossover anthology is meant for people of all sizes who desire to be seen and heard in a culture consumed by a narrow definition of beauty. By combining the talents of renowned fat YA and middle-grade authors, as well as fat influencers and creators, The (Other) F Word offers teen readers and activists of all ages a guide for navigating our world with confidence and courage.

    Editors Elissa Washuta and Theresa Warburton ground this anthology of essays by Native writers in the formal art of basket weaving. Using weaving techniques such as coiling and plaiting as organizing themes, the editors have curated an exciting collection of imaginative, world-making lyric essays by twenty-seven contemporary Native writers from tribal nations across Turtle Island into a well-crafted basket.Shapes of Native Nonfiction features a dynamic combination of established and emerging Native writers, including Stephen Graham Jones, Deborah Miranda, Terese Marie Mailhot, Billy-Ray Belcourt, Eden Robinson, and Kim TallBear. Their ambitious, creative, and visionary work with genre and form demonstrate the slippery, shape-changing possibilities of Native stories. Considered together, they offer responses to broader questions of materiality, orality, spatiality, and temporality that continue to animate the study and practice of distinct Native literary traditions in North America.

    If you're Black in the US, this is not new. As Colorlines editors Akiba Solomon and Kenrya Rankin show, Black Americans subvert and resist life-threatening forces as a matter of course. In these pages, leading organizers, artists, journalists, comedians, athletes, and filmmakers offer wisdom on how they fight White supremacy. It's a must-read for anyone new to resistance work, and for the next generation of leaders building a better future.Featuring contributions from:Ta-Nehisi CoatesTarana BurkeHarry Belafonteadrienne maree brownAlicia GarzaPatrisse Khan-CullorsReverend Dr. Valerie BridgemanKiese LaymonJamilah LemieuxRobin DG KelleyDamon YoungMichael Arceneaux

    Mehra's family: her wife, who is white; her adopted son, who is black; and their experiences dealing with America's rigid ideas of race, gender, and sexuality. Her clear-eyed and incisive writing on her family's daily struggle to make space for themselves amid racial intolerance and stereotypes personalizes some of America's most fraught issues. Mehra writes candidly about her efforts to protect and shelter her young son from racial slurs on the playground and from intrusive questions by strangers while educating him on the realities and dangers of being a black male in America. In other essays, she discusses her childhood living in the racially polarized city of Memphis; coming out as queer; being an adoptive mother who is brown; and what it's like to be constantly confronted by people's confusion, concern, and expectations about her child and her family. Above all, Mehra argues passionately for a more nuanced and compassionate understanding of identity and family.Both poignant and challenging, Brown, White, Black is a remarkable portrait of a loving family on the front lines of some of the most highly charged conversations in our culture.

    And while some of his journalistic writings have been made available over the years, this is the first volume to gather a representative selection from across the first four decades of his career–years during which he worked as a full-time, often muckraking, and controversial journalist, even as he penned the fiction that would bring him the Nobel Prize in 1982. Here are the first pieces he wrote while working for newspapers in the coastal Colombian cities of Cartagena and Barranquilla . . . his longer, more fictionlike reportage from Paris and Rome . . . his monthly columns for Spain’s El País. And while all the work points in style, wit, depth, and passion to his fiction, these fifty pieces are, more than anything, a revelation of the writer working at the profession he believed to be “the best in the world.”

    S. Lewis continues to speak to readers, thanks not only to his intellectual insights on Christianity but also his wondrous creative works and deep reflections on the literature that influenced his life. Beloved for his instructive novels including The Screwtape Letters, The Great Divorce, and The Chronicles of Narnia as well as his philosophical books that explored theology and Christian life, Lewis was a life-long writer and book lover.Cultivated from his many essays, articles, and letters, as well as his classic works, How to Read provides guidance and reflections on the love and enjoyment of books. Engaging and enlightening, this well-rounded collection includes Lewis’ reflections on science fiction, why children’s literature is for readers of all ages, and why we should read two old books for every new one.A window into the thoughts of one of the greatest public intellectuals of our time, this collection reveals not only why Lewis loved the written word, but what it means to learn through literature from one of our wisest and most enduring teachers.

    In her new book, Rosenberg addresses the overlooked and offbeat issues of mental illness, shedding light on topics that are off-limits, uncomfortable, or just downright embarrassing. This book details every challenging and awkward stage of Amanda’s journey with mental illness and how she manages what she calls her, “garden variety crazy.” These pages are a look at the everyday realities of mental illness - the particular kind of torture that is finding a good therapist, the challenges of figuring out the elusive correct mix of medications, and the appropriate responses with how to deal with the friend who insists ‘but you don’t look depressed’.

    But as an undocumented teenager living in New York, her journey of self-discovery was just beginning.Because she couldn’t get a driver’s license or file taxes, Cinelle worked as a cleaning lady and a nanny and took other odd jobs—and learned to look over her shoulder, hoping she wouldn’t get caught. When she falls in love and marries a white man from the South, Cinelle finds herself trying to adjust to the thorny underbelly of “southern hospitality” while dealing with being a new mother, an immigrant affected by PTSD, and a woman with a brown body in a profoundly white world. From her immigration to the United States, to navigating a broken legal system, to balancing assimilation and a sense of self, Cinelle comes to rely on her resilience and her faith in the human spirit to survive and come of age all over again.Lyrical, emotionally driven, and told through stories both lived and overheard, Cinelle’s intensely personal, yet universal, exploration of race, class, and identity redefines what it means to be a woman—and an American—in a divided country.

    "I am black--and brown, too," writes Emily Bernard. "Brown is the body I was born into. Black is the body of the stories I tell."The storytelling, and the mystery of Bernard's storytelling, of getting to the truth, begins with a stabbing in a New England college town. Bernard writes how, when she was a graduate student at Yale, she walked into a coffee shop and, along with six other people, was randomly attacked by a stranger with a knife ("I remember making the decision not to let the oddness of this stranger bother me"). "I was not stabbed because I was black," she writes (the attacker was white), "but I have always viewed the violence I survived as a metaphor for the violent encounter that has generally characterized American race relations. There was no connection between us, yet we were suddenly and irreparably bound by a knife, an attachment that cost us both: him, his freedom; me, my wholeness."Bernard explores how that bizarre act of violence set her free and unleashed the storyteller in her ("The equation of writing and regeneration is fundamental to black American experience").She writes in Black Is the Body how each of the essays goes beyond a narrative of black innocence and white guilt, how each is anchored in a mystery, and how each sets out to discover a new way of telling the truth as the author has lived it. "Blackness is an art, not a science. It is a paradox: intangible and visceral; a situation and a story. It is the thread that connects these essays, but its significance as an experience emerges randomly, unpredictably . . . Race is the story of my life, and therefore black is the body of this book."And what most interests Bernard is looking at "blackness at its borders, where it meets whiteness in fear and hope, in anguish and love."

    “Dhaqan” means culture and “Celis” means return.’Learning to kick a football in a suburban schoolyard. Finding your feet as a young black dancer. Discovering your grandfather’s poetry. Meeting Nelson Mandela at your local church. Facing racism from those who should protect you. Dreading a visit to the hairdresser. House- hopping across the suburbs. Being too black. Not being black enough. Singing to find your soul, and then losing yourself again.Welcome to African Australia.Compiled by award-winning author Maxine Beneba Clarke, with curatorial assistance from writers Ahmed Yussuf and Magan Magan, this anthology brings together voices from the regions of Africa and the African diaspora, including the Caribbean and the Americas. Told with passion, power and poise, these are the stories of African-diaspora Australians.Contributors include Faustina Agolley, Santilla Chingaipe, Carly Findlay, Khalid Warsame, Nyadol Nyuon, Tariro Mavondo and many, many more.

    This delightful and persuasive essay is for adult readers.

    In this volume, Russell’s various essays are brought together in one place in order to provide a useful and expansive resource to those interested in better understanding the ways in which the modern phenomenon of disability is shaped by capitalist economic and social relations. The essays range in analysis from the theoretical to the topical, including but not limited to: the emergence of disability as a “human category” rooted in the rise of industrial capitalism and the transformation of the conditions of work, family, and society corresponding thereto; a critique of the shortcomings of a purely “civil rights approach” to addressing the persistence of disability oppression in the economic sphere, with a particular focus on the legacy of the Americans with Disabilities Act of 1990; an examination of the changing position of disabled people within the overall system of capitalist production utilizing the Marxist economic concepts of the reserve army of the unemployed, the labor theory of value, and the exploitation of wage-labor; the effects of neoliberal capitalist policies on the living conditions and social position of disabled people as it pertains to welfare, income assistance, health care, and other social security programs; imperialism and war as a factor in the further oppression and immiseration of disabled people within the United States and globally; and the need to build unity against the divisive tendencies which hide the common economic interest shared between disabled people and the often highly-exploited direct care workers who provide services to the former.

    . . . All I know is: The hand. The little hand that takes yours, small and soft as feathers. I'm happy our grandson does not yet have sophisticated language or a working knowledge of personal finance, because if he took my hand and said, "Nana, can you sign your 401(k) over to me," I can imagine myself thinking, well, I don't really need a retirement fund, do I? And besides, look at those eyelashes. Or the greeting. Sometimes Arthur sees me and yells "Nana!" in the way some people might say "ice cream!" and others say "shoe sale!" No one else has sounded that happy to see me in many many years.Before blogs even existed, Anna Quindlen became a go-to writer on the joys and challenges of family, motherhood, and modern life, in her nationally syndicated column. Now she's taking the next step and going full Nana in the pages of this lively, beautiful, and moving book about being a grandmother. Quindlen offers thoughtful and telling observations about her new role, no longer mother and decision-maker but secondary character and support to the parents of her grandson. She writes, "Where I once led, I have to learn to follow." Eventually a close friend provides words to live by: "Did they ask you?"Candid, funny, frank, and illuminating, Quindlen's singular voice has never been sharper or warmer. With the same insights she brought to motherhood in Living Out Loud and to growing older in Lots of Candles, Plenty of Cake, this new nana uses her own experiences to illuminate those of many others.

    Every few months, she would travel to their Salt Lake City studios from her red rock home of Bluff to read an essay or two. With understated humor and sharp insight, Meloy would illuminate facets of human connection to nature and challenge listeners to examine the world anew. Seasons: Desert Sketches is a compilation of these essays, transcribed from their original cassette tape recordings. Whether Meloy is pondering geese in Desolation Canyon or people at the local post office, readers will delight in her signature wit and charm—and feel the pull of the desert she loves and defends. With a foreword by Annie Proulx.

    Spurred by the realization that they had nearly completed high school without hearing any substantive discussion about racism in school, the two young women deferred college admission for a year to collect first-person accounts of how racism plays out in this country every day--and often in unexpected ways.In Tell Me Who You Are, Guo and Vulchi reveal the lines that separate us based on race or other perceived differences and how telling our stories--and listening deeply to the stories of others--are the first and most crucial steps we can take towards negating racial inequity in our culture. Featuring interviews with over 150 Americans accompanied by their photographs, this intimate toolkit also offers a deep examination of the seeds of racism and strategies for effecting change.This groundbreaking book will inspire readers to join Guo and Vulchi in imagining an America in which we can fully understand and appreciate who we are.

    In Turn This World Inside Out, she presents Nurturance Culture as the opposite of rape culture and suggests how alternative models of care and accountability―different from “call-outs,” which are often rooted in the politics of shame and guilt―can move toward inverting cultures of dominance and systems of oppression. When communities are able to recognize and speak up about systemic violence, center the needs of those harmed, and hold a circle of belonging that humanizes everyone, they create a revolutionary foundation of nurturance that can begin to repair the harms inflicted by patriarchy, white supremacy, and capitalism. Emerging out of insights in Gender Studies, Race Theory, and Psychology, and influenced by contemporary social movements, Turn This World Inside Out speaks to some of the most pressing issues of our time.

    She still looms large in feminist demands for sexual freedom, evoked as a censorial demagogue, more than a decade after her death. Among the very first writers to use her own experiences of rape and battery in a revolutionary analysis of male supremacy, Dworkin was a philosopher outside and against the academy who wrote with a singular, apocalyptic urgency.Last Days at Hot Slit brings together selections from Dworkin's work, both fiction and nonfiction, with the aim of putting the contentious positions she's best known for in dialogue with her literary oeuvre. The collection charts her path from the militant primer Woman Hating (1974), to the formally complex polemics of Pornography (1979) and Intercourse (1987) and the raw experimentalism of her final novel Mercy (1990). It also includes “Goodbye to All This” (1983), a scathing chapter from an unpublished manuscript that calls out her feminist adversaries, and “My Suicide” (2005), a despairing long-form essay found on her hard drive after her death.

    But the truth is very different - countless brave and bold women have used their voices to inspire change, transform lives and radically alter history.In this timely and personal anthology, Yvette Cooper MP tells the story of 30 inspirational speeches given by women. From Boudica to Margaret Thatcher and from Malala to gun-control activist Emma Gonzalez, each speech will be reproduced in full and introduced by Yvette. This is not only a much-needed celebration of women's speeches throughout history, but also proof that powerful and persuasive oratory can be decidedly female.

    “Science is important because this is how we seek to discover the truth about the world. And this is what makes excellent science and nature writing essential,” observes New York Times best-selling author Sy Montgomery. “Science and nature writing are how we share the truth about the universe with the people of the world.” And collected here are truths about nearly every corner of the universe. From meditations on extinction, to the search for alien life, to the prejudice that infects our medical system, the pieces in this year’s Best American Science and Nature Writing seek to bring to the people stories of some of the most pressing issues facing our planet, as well as moments of wonder reflecting the immense beauty our natural world offers.

    They frequently recreate the actions of presidents, military leaders, and soldiers. From Captain America punching Hitler in the jaw on his very first cover, to The Punisher surviving the battle of Firebase Valley Forge, there are countless instances when the military has crossed over to the pages of comic books.Soldiers and superheroes: A veteran of Operation Iraqi Freedom, Jason Inman re-discovered his childhood love of comic books during long days at the Tallil Air Base in southern Iraq. He couldn’t help but ask why so many comic books are filled with service members. Maybe it’s their loyalty to everyday citizens and the never-ending quest for justice. The men and women who lace up their books and sacrifice their lives know that battle can change a person. What kinds of soldiers were these fictional characters, and how were they changed by war?Discover the super soldiers in Marvel comics, DC comics and beyond: Super Soldiers: A Salute to the Comic Book Heroes and Villains Who Fought for Their Country looks at the intersection between war and pop culture to understand these questions and more. Each chapter revisits military comic book characters and compares them to personal stories from Inman’s military career. Describing superhero soldiers from DC comics and Marvel comics, including lesser-known characters lost to time.

    Examining the intersections of queerness, spiritual abuse, loss of faith, and the courage needed to leave one's religious community, these two social critics use a diverse collection of personal essays by apostates and survivors of religious trauma to boldly address the individual experiences and systemic dysfunction so common in conservative churches.Following the 2016 election of President Trump, Stroop coined the hashtag #EmptyThePews on Twitter as a call to take a moral stance against the kind of fundamentalist, authoritarian, or otherwise conservative churches that helped bring about the current political situation and all its cruelty, division, and hate. The hashtag continues to circulate with the eye-opening and often heartbreaking stories of those who found the resolve to leave evangelical, Mormon, Catholic, and other religious communities. Empty the Pews continues this campaign by sharing the unflinchingly honest stories of those who escaped hardline religious ideology and how it failed to crush their spirits.Contributions include essays from a diverse group of established and up-and-coming writers, including Garrard Conley, Lyz Lenz, Juliana Delgado Lopera, Carmen Maria Machado, Isaac Marion, Maud Newton, Julia Scheeres, Linda Tirado, and more, as well as a foreword by Frank Schaeffer, the former Christian Right leader turned trenchant critic.A provocative anthology of undeniable importance and power, Empty the Pews reflects upon the disoriented worldview of harmful, narrow-minded religious ideologies and also offers a clear call to action: to those who refuse to be complicit in the bigotry and abuse present in so many churches, now is the time to empty the pews.

    

    From Pablo Picasso to Cindy Sherman, Old Masters to contemporary masters, paintings to comix, and saints to charlatans, Schjeldahl ranges widely through the diverse and confusing art world, an expert guide to a dazzling scene. No other writer enhances the reader’s experience of art in precise, jargon-free prose as Schjeldahl does. His reviews are more essay than criticism, and he offers engaging and informative accounts of artists and their work. For more than three decades, he has written about art with Emersonian openness and clarity. A fresh perspective, an unexpected connection, a lucid gloss on a big idea awaits the reader on every page of this big, absorbing, buzzing book.

    When he’s awake, he gives vent to some of the most heartfelt, political and anger-fueled prose to power its way to the public sphere since Hunter S. Thompson smashed a typewriter’s keys.Welcome to Hell World is an unexpurgated selection of Luke O’Neil’s finest rants, near-poetic rhapsodies, and investigatory journalism. Racism, sexism, immigration, unemployment, Marcus Aurelius, opioid addiction, Iraq: all are processed through the O’Neil grinder. He details failings in his own life and in those he observes around him: and the result is a book that is at once intensely confessional and an energetic, unforgettable condemnation of American mores.Welcome to Hell World is, in the author’s words, a “fever dream nightmare of reporting and personal essays from one of the lowest periods in our country in recent memory.” It is also a burning example of some of the best writing you’re likely to read anywhere.____________________________________________________________________________"Luke O’Neil is not on staff. " — The Boston Globe"Unbelievable." —Ben Shapiro"The Left’s new low." —Tucker Carlson"A widely read, offbeat newsletter… " —Mike Isaac, The New York Times"Luke O’Neil is one of the few writers who faces our grim reality the way it is, and not the way we wish it was. Compiling Hell World is a sin-eater’s task, and we are indebted to him for doing it.”—Dan Ozzi, co-author of Tranny"One of my favorite things I read all year…” —Frida Garza, Jezebel’s The Best Political Writing 2018"Welcome to Hell World is a distress call from a place where hope still exists, dispatched by a man who clearly sees the insanity of life in America and believes it doesn’t have to be this way.” —Keith Buckley of Every Time I Die, author of Watch"Luke O’Neil is like no other journalist working today, fusing original reporting with memoir and frequently-profane observational humor to create what feels like a new type of truth-telling: precise, fucked-up, infuriating, and, somehow, beautiful. ...This is what it looks like when a gifted writer finds his voice.” —Hamish McKenzie, co-founder of Substack and author of Insane Mode: How Elon Musk's Tesla Sparked an Electric Revolution to End the Age of Oil

    Tompkins to Rob Delaney. In her prose debut, the host of Retail Nightmares and Super! Sick! Podcast! takes readers through the funniest parts of sadness and the saddest parts of funniness. While tackling topics ranging from advice on how to be depressed at Christmas to traumatic memories of Velcro shoes, from Vancouver's inexplicable combination of grey rain and palm trees to Montreal's brutal winters and mime couture, from new crushes to old breakups, Tobin softens a barbed wit with a gentle touch in the tradition of the best personal essayists. This frank, tender, and hilarious collection gives one of the brightest (and darkest) lights of Canadian live comedy room to flourish on the page, and the results are unforgettable. Grab a tissue - for either tears or allergies - and treat yourself.So You're a Little Sad, So What? is the latest title to be published under the Robin's Egg Books imprint. Robin's Egg Books features some of the freshest, smartest, and above all funniest writing on a variety of culturally relevant subjects. Titles in the imprint are curated and edited by comedian, playwright, and author Charles Demers.

    Instead, she faces the end of her relationships, a family whose values she has difficulty sharing, and America's casual racism, sexism, and homophobia. In this book-length essay, the problem of how to account for one's life comes to the fore--sliding unpredictably between memory, speculation, self-criticism, and art criticism, Low seeks answers that she knows she won't find. Attempting to reconcile her desires with her radical politics, she asks: do our quests to fulfill our deepest wishes propel us forward, or keep us trapped in the rubble of our deteriorating world?

    And how one woman responds to those challenges. In the vein of contemporary social commentators such as Roxane Gay and Rebecca Solnit, author Kimberly McLarin elucidates the joys, sorrows and frustrations of being a black woman in the contemporary America.

    Every week, a woman is killed by a current or former partner. This is Australia's national emergency. Violence against women is preventable. It is not an inevitable part of the human condition. It's time to create a new normal. It is time to stop the slaughter in our suburbs.

    But sexual assault isn't limited to a single, terrible moment of violence: it stays with survivors, following them wherever they go.Through the voices of twelve diverse female writers, Whatever Gets You Through offers a powerful look at the narrative of sexual assault not covered by the headlines--the weeks, months, and years of survival and adaptation that women live through in its aftermath. With a foreword by Jessica Valenti, an extensive introduction by editors Stacey May Fowles and Jen Sookfong Lee, and contributions by acclaimed literary voices listed in presentation order: Lauren McKeon, Heather O'Neill, Alicia Elliott, Juliane Okot Bitek, Kai Chen Thom, Elly Danica, Gwen Benaway, Karyn L. Freedman, Amber Dawn, Soraya Palmer, Lea Lakshmi Piepzna-Samarasinha and Elisabeth de Mariaffi. The collection explores some of the many different forms that survival can take.From ice hockey to kink, boxing to tapestry-making, these striking personal essays address subjects as varied as the women who have lived them. With candor and insight, each writer shares her own unique experience of enduring: the everyday emotional pain and trauma, but also the incredible resilience and strength that can emerge in the aftermath of sexual assault.

    There are approximately 42 million child sexual abuse survivors in the U.S. and millions of bystanders who look the other way as the abuse occurs and cover for the harm-doers with no accountability. Documentary filmmaker and survivor of child sexual abuse and adult rape, Aishah Shahidah Simmons invites diasporic Black people to join her in transformative storytelling that envisions a world that ends child sexual abuse without relying on the criminal justice system. Love WITH Accountability features compelling writings by child sexual abuse survivors, advocates, and Simmons’s mother, who underscores the detrimental impact of parents/caregivers not believing their children when they disclose their sexual abuse. This collection explores disrupting the inhumane epidemic of child sexual abuse, humanely.Praise for Love WITH Accountability:"With this brave and healing anthology of truth-telling about sexual abuse within Black families, Aishah Shahidah Simmons sets an example for all families. If we could all raise just one generation of children without violence or the threat of violence, who knows what might be possible?" —Gloria Steinem"Aishah Shahidah Simmons's Love WITH Accountability: Digging Up the Roots of Child Sexual Abuse is a book that is wonderfully and sadly timeless. Simmons and the courageously skilled authors she's assembled write their bodies, memories and imaginations into calcified cracks and bleeding silences. Each piece opens up the absolute terror and consequence of sexual abuse of children, but somehow the entire book is as interested in looking back as it is at looking forward. Love WITH Accountability reminds me that willful people make liberation happen and willful people and willful art can obliterate terror." —Kiese Laymon, author of Heavy: An American Memoir"Love WITH Accountability is an honoring of our ancestors who dared to struggle, a gift to our movements fighting to create thriving communities and a guide for future generations to continue this work. Through Simmons self-work and community of activists, leaders and scholars, they have produced a collection of writings to expose painful truths, while also providing a roadmap for accountability that is based on love, not more false solutions. This book is for anyone who is willing to do the difficult, yet necessary work to end the global epidemic of child sexual abuse." —Charlene A. Carruthers, author of Unapologetic: A Black, Queer and Feminist Mandate for Radical Movements“Aishah Shahidah Simmons is always on time. Her film NO! helped me understand myself as a survivor. Now she offers us Love WITH Accountability, a book that guides readers through a new terrain of healing from childhood sexual abuse.... We are not alone, and we don't have to abandon love in order to live in justice. We have each other, and we are claiming our lives and our families, our transformation, and our healing, together. Thank you for this sharp, tender, reshaping of a text.” —adrienne maree brown, author of Pleasure Activism: The Politics of Feeling Good"To say that this anthology is long overdue doesn’t even begin to cover it. For decades, and lifetimes, LGBTQIAA survivors of color have been the backbone of the anti-violence movement and frequently their voices have been pushed into the cracks of the mainstream. A fierce offering of complex, powerful, necessary narratives and critique, Love WITH Accountability: Digging Up the Roots of Child Sexual Abuse dreams a new future into being: one where survivors are centered, and where we can dare to believe that accountability and true justice is possible. This is a gift of a book and the ripples of it’s impact will be with us for decades to come." —Jennifer Patterson, Queering Sexual Violence: Radical Voices from Within the Anti-Violence Movement"Not only have the contributors to this anthology found the bravery to share their survival stories, they have also developed practical and urgent solutions to one of the of most pervasive forms of violence impacting our communities at this time in history. . . . This is a book that should be taught in all classes that address gender, violence, family structure, parenting, race, sexuality, disability and equality and read in organizations that address any of those issues as well. Thank you Aishah Simmons for once again revealing an urgent paradigm of healing, a new and necessary definition of love." —Alexis Pauline Gumbs PhD, author of M Archive: After the End of the World"As a society, we’ve gravitated toward solutions to end sexual violence and child sexual abuse that are more about shortcut and hiding and less about compassion and truth. Through their own suffering, healing, thriving, and deep wisdom, Aishah Shahidah Simmons and her contributors to the Love WITH Accountability: Digging Up the Roots of Child Sexual Abuse anthology offer us a path forward that is real, compassionate, and true. This work fills me with hope!" —Terri Poore, Policy Director, Raliance (National Alliance to End Sexual Violence)"With Love WITH Accountability, Aishah has done it yet again. And she brings an even greater team of radical powerhouses with her this time around. Let us rejoice in this gift of, as Darnell L. Moore notes in the Foreword, 'documented practices that might move survivors in the direction of healing' and 'critical and radical tools that … transform harm doers.' Let us rejoice. Love WITH Accountability is here." —Heidi R. Lewis, Ph.D., Director and Associate Professor of Feminist & Gender Studies at Colorado CollegeAishah Shahidah Simmons is an award-winning Black feminist lesbian documentary filmmaker, activist, cultural worker, and international lecturer. A child sexual abuse and adult rape survivor, she is the producer/director of the film, NO! The Rape Documentary, and the creator of the #LoveWITHAccountability Project. Simmons is a Just Beginnings Collaborative Fellow, and a Visiting Scholar at the University of Pennsylvania where she is also affiliated with the Ortner Center on Violence and Abuse in Relationships.

    Christine Blasey-Ford when she testified to congress in September 2018 about the men who victimized her. A year earlier, in October 2017, the hashtag #MeToo shone a light on the internalized, normalized sexual harassment and abuse that'd been ubiquitous for women for generations.Among the first books to emerge from the #MeToo movement, Indelible in the Hippocampus is a truly intersectional collection of essays, fiction, and poetry. These original texts sound the voices of black, Latinx, Asian, queer, and trans writers, to name but a few, and says "me too" 22 times. Whether reflecting on their teenage selves or their modern-day workplaces, each contributor approaches the subject with unforgettable authenticity and strength.Together these pieces create a portrait of cultural sea-change, offering the reader a deeper understanding of this complex, galvanizing pivot in contemporary consciousness.Featuring Kaitlyn Greenidge, Melissa Febos, Syreeta McFadden, Rebecca Schiff, Diana Spechler, Hossannah Asuncion, Nelly Reifler, Courtney Zoffness, Quito Ziegler, Mecca Jamilah Sullivan, Jolie Holland, Lynn Melnick, Caitlin Delohery, Caitlin Donohue, Gabrielle Bellot, Karissa Chen, Elissa Schappell, Samantha Hunt, Honor Moore, Donka Kelly, and Hafizah Geter

    She is the co-host of The High Low, the UK's most popular women's podcast. She is a broadcaster, a brand consultant, and a parent.But now Pandora turns her attention to authenticity. In her intimate, thought-provoking essay, The Authentic Lie, Pandora explores ideas about womanhood, mental health, social media, celebrity and the things that 'define' who we are. With the help of the brilliant author and journalist Elizabeth Day, who has written the foreword, we think it will get people talking.Why? Crucially, Pandora has taken a risk: placing her own experiences at the heart of this piece, readers are given an insight into someone who is acutely aware of the pressures we all face to ‘keep it real’.https://www.kickstarter.com/projects/...

    In a series of essays, letters and stories, the writers tackle themes and forms that are brave, vulnerable and new. All profits will go to the charity Women for Women International. Broadcaster Lindsey Hilsum says goodbye to her late friend Marie Colvin in a heartfelt letter, journalist Emma Gannon reflects on the life lessons she has learned at the age of 30, while author Poorna Bell details her path to finding happiness in her own company, from that of a dark, bottomless chasm into a dazzlingly bright portal lit with endless possibility. Elsewhere Mina Holland of The Guardian considers her relationship with her parents on the eve of becoming a mother, and novelist Elizabeth Day considers the meaning of success: A lot of the time it will feel like failure, like a challenge that needs to be overcome. Contributors have donated their time and skills bring this collection together. All profits will go to the charity Women for Women International, who work with at-risk women in countries affected by conflict and war. The collection has been curated by content agency Sonder & Tell and published by British fashion brand Jigsaw, with stories by:Alice-Azania Jarvis, Ana Santi, Anna Jones, Ariane Sherine, Brita Fernandez Schmidt, Charlie Brinkhurst-Cuff, Daisy Buchanan, Elizabeth Day, Emma Gannon, Farrah Storr, Funmi Fetto, Gillian Orr, Irenosen Okojie, Lindsey Hilsum, Marianne Power, Mina Holland, Natasha Lunn, Nellie Eden, Olivia Sudjic, Pandora Sykes, Phoebe Lovatt, Poorna Bell, Sophie Mackintosh, Sophie Wilkinson, Tahmina Begum, Vicky Spratt, Yomi Adegoke, Zing Tsjeng

    Common People will see writers who have made that leap reach back to give a helping hand to those coming up behind.We read because we want to experience lives and emotions beyond our own, to learn, to see with others’ eyes – without new working class voices, without the vital reflection of real lives, or role models for working class readers and writers, literature will be poorer.Working-class stories are not always tales of the underprivileged and dispossessed. Common People is a collection of essays, poems and memoir written in celebration, not apology: these are narratives rich in barbed humor, reflecting the depth and texture of working-class life, the joy and sorrow, the solidarity and the differences, the everyday wisdom and poetry of the woman at the bus stop, the waiter, the hairdresser. Here, Kit de Waal brings together thirty-three established and emerging writers who invite you to experience the world through their eyes, their voices loud and clear as they reclaim and redefine what it means to be working class. Original Pieces Contributed by:Damian BarrMalorie Blackman OBELisa BlowerJill DawsonLouise DoughtyStuart MaconieChris McCruddenLisa McInerneyPaul McVeighDaljit NagraDr Dave O’BrienCathy RentzenbrinkAnita SethiAdelle StripeTony WalshAlex Wheatleand more

    As Whitney French says in her introduction, Black Writing Matters “injects new meaning into the word diversity [and] harbours a sacredness and an everydayness that offers Black people dignity.” An “invitation to read, share, and tell stories of Black narratives that are close to the bone,” this collection feels particular to the Black Canadian experience.

    The books that followed, among them Slow Days, Fast Company and Sex and Rage, have seduced generations of readers with their unfailing wit and impossible glamour. What is less well known is that Babitz was a working journalist for the better part of three decades, writing for the likes of Rolling Stone, Vogue, and Esquire, as well as for off-the-beaten-path periodicals like Wet: The Magazine of Gourmet Bathing and Francis Ford Coppola’s short-lived City. Whether profiling Hollywood darlings, getting to the bottom of health crazes like yoga and acupuncture, remembering friends and lovers from her days hobnobbing with rock stars at the Troubadour and art stars at the Ferus Gallery, or writing about her beloved, misunderstood hometown, Los Angeles, Babitz approaches every assignment with an energy and verve that is all her own.I Used to Be Charming gathers nearly fifty pieces written between 1975 and 1997, including the full text of Babitz’s wry book-length investigation into the pioneering lifestyle brand Fiorucci. The title essay, published here for the first time, recounts the accident that came close to killing her in 1996; it reveals an uncharacteristically vulnerable yet never less than utterly charming Babitz.

    My mother's uterine tumor, the size of a cabbage, is Week 30, and this is terrifying."When her mother is diagnosed with a rare form of cancer, Karen Babine--a cook, collector of thrifted vintage cast iron, and fiercely devoted daughter, sister, and aunt--can't help but wonder: feed a fever, starve a cold, but what do we do for cancer? And so she commits herself to preparing her mother anything she will eat, a vegetarian diving headfirst into the unfamiliar world of bone broth and pot roast.In these essays, Babine ponders the intimate connections between food, family, and illness. What draws us toward food metaphors to describe disease? What is the power of language, of naming, in a medical culture where patients are too often made invisible? How do we seek meaning where none is to be found--and can we create it from scratch? And how, Babine asks as she bakes cookies with her small niece and nephew, does a family create its own food culture across generations?Generous and bittersweet, All the Wild Hungers is an affecting chronicle of one family's experience of illness and of a writer's culinary attempt to make sense of the inexplicable.

    In lyric, fragmented essays—full of geological, ornithological and photographic interventions, with landscapes, loss, and longing—Biondolillo travels the terrain of leaving and finding home while keeping her sights fixed firm on the natural world around her. Includes "How to Skin a Bird," winner of the Carter Prize for the Essay, and the Best American Essays 2014 notable, "Phrenology."

    His essays on canonical writers (Gustav Flaubert, Herman Melville), recent legends (Don DeLillo, Marilynne Robinson) and significant contemporaries (Zadie Smith, Elena Ferrante) have established a standard for informed and incisive appreciation, composed in a distinctive literary style all their own.Together, Wood's essays, and his bestselling How Fiction Works, share an abiding preoccupation with how fiction tells its own truths, and with the vocation of the writer in a world haunted by the absence of God. In Serious Noticing, Wood collects his best essays from two decades of his career, supplementing earlier work with autobiographical reflections from his book The Nearest Thing to Life and recent essays from The New Yorker on young writers of extraordinary promise. The result is an essential guide to literature in the new millennium.

       From the New York Times bestselling creator of Lost in Translation, Eating the Sun is a delicately existential, beautifully illustrated, and welcoming exploration of the universe—one that examines and marvels at the astonishing principles, laws, and phenomena that we exist alongside, that we sit within.

    Dubravka Ugresic, winner of the Neustadt International Prize and one of Europe’s most influential writers, with biting humor and a multitude of cultural references—from La La Land and Dawn of the Planet of the Apes, to tattoos and body modification, World Cup chants, and the preservation of Lenin’s corpse—takes on the dreams, hopes, and fears of modern life. The collapse of Yugoslavia, and the author’s subsequent exile from Croatia, leads to reflections on nationalism and the intertwining of crime and politics. Ugresic writes at eye level, from a human perspective, in portraits of people from the former Eastern Bloc, who work as cleaners in the Netherlands or start underground shops with products from their country of origin.A rare and welcome combination of irony, compassion, and a sharp polemic gaze characterizes these beautiful and highly relevant essays.

    Through her five years of travelling across the villages of Tamil Nadu, Aparna Karthikeyan gets to know men and women who do exceptional—yet perfectly ordinary—things to earn a living. She documents, through ten of these stories, the transformations, aspirations and disruptions of the last twenty-five years. The people she meets force these questions of her, and her reader: What is the culture we seek to preserve? What will become of food security without farmers? How can ‘development’ exclude 833 million people? Including interviews with journalist P. Sainath, musician T.M. Krishna and writer Bama, among others, Nine Rupees an Hour is a critical portrayal of the drastic and systematic erosion of traditional livelihoods.These engaging narratives unravel a peoples’ perspective of work and life, where creative beauty and human dignity merge to matter, even if their worth in market-obsessed economics is merely nine rupees an hour. Evocative and relevant, they jostle our comfort. Statistics and economic analyses of wages and work, juxtaposed with the lives people lead, help us understand the situation on the ground. A book all of us must read’—Aruna Roy, Social activistSustainable livelihoods provide the foundation for a happy life. We owe a deep sense of gratitude to Aparna Karthikeyan for bringing out this useful book based on real-life examples. I hope the book will be widely read. —M.S. Swaminathan, plant geneticist and agricultural scientist

    White, “one of the country’s great literary treasures” (New York Times), centered on the subject of freedom and democracy in America.“I am a member of a party of one, and I live in an age of fear.”These words were written by E. B. White in 1947.Decades before our current political turmoil, White crafted eloquent yet practical political statements that continue to resonate. “There’s only one kind of press that’s any good—” he proclaimed, “a press free from any taint of the government.” He condemned the trend of defamation, arguing that “in doubtful, doubting days, national morality tends to slip and slide toward a condition in which the test of a man’s honor is his zeal for discovering dishonor in others.” And on the spread of fascism he lamented, “fascism enjoys at the moment an almost perfect climate for growth—a world of fear and hunger.”Anchored by an introduction by Pulitzer Prize-winning historian Jon Meacham, this concise collection of essays, letters, and poems from one of this country’s most eminent literary voices offers much-needed historical context for our current state of the nation—and hope for the future of our society. Speaking to Americans at a time of uncertainty, when democracy itself has come under threat, he reminds us, “As long as there is one upright man, as long as there is one compassionate woman . . . the scene is not desolate.”

    It celebrates a unifying heritage and illustrates an uplifting sense of sisterhood and the strong links that endure from generation to generation as well as the common obstacles that female writers of colour continue to face as they negotiate issues of race, gender and class.A glorious portrayal of the richness, magnitude and range of the singular and combined accomplishments of these women, New Daughters of Africa also testifies to a wealth of genres: autobiography, memoirs, oral history, letters, diaries, short stories, novels, poetry, drama, humour, politics, journalism, essays and speeches.It showcases key figures and popular contemporaries, as well as overlooked historical authors and today’s new and emerging writers. Amongst the 200 contributors are: Chimamanda Ngozi Adichie, Patience Agbabi, Sefi Atta, Ayesha Harruna Attah, Malorie Blackman, Tanella Boni, Diana Evans, Bernardine Evaristo, Aminatta Forna, Danielle Legros Georges, Bonnie Greer, Andrea Levy, Imbolo Mbue, Yewande Omotoso, Nawal El Saadawi, Taiye Selasi, Warsan Shire, Zadie Smith and Andrea Stuart.A unique and seminal anthology, New Daughters of Africa represents the global sweep, diversity and extraordinary literary achievements of Black women writers whose voices, despite on going discussions, remain under-represented and underrated.

    You’re weightless. You’re stuck in between jumping and landing. You exist in midair. Your bones start to thin.” Growing up in a small town in the South, Julia and her childhood best friend Laura know the church as well as they know each other’s bodies—the California-shaped scar on Julia’s right knee, the tapered thinness of Laura’s fingers, the circumference of each other’s ponytails. When Laura’s family moves away in middle school and Julia gets a crush on the new priest’s daughter at their church, Julia starts to more fully realize the consequences of being anything but straight in the South. After college, when Julia and her best friend Kate wait tables at a rib joint in Julia’s hometown, they are forced to face the price of the secrets they’ve kept—from their families, each other, and themselves. From astronaut Sally Ride’s obituary, to a UFO Welcome Center, to a shark tooth collection, to DC Comic’s Gay Ghost, this memoir-in-essays draws from mythology, religion, popular culture, and personal experience to examine how coming out is not a one-time act. At once heartrending and beautiful, The Rib Joint explores how fear and loss can inhabit our bodies and, contrastingly, how naming our desire allows us to feel the heart beating in our chest.

    While displaying tenderness and a disarming honesty, Perry catalogs racial degradations committed on the campuses of elite universities and liberal bastions like San Francisco while coming of age in America.The essays in Some of Us Are Very Hungry Now take the form of personal reflection, multiple choice questions, screenplays, and imagined talk-show conversations, while traversing the daily minefields of childhood schoolyards and midwestern dive-bars. The impression of Perry’s personal journey is arresting and beguiling, while announcing the author’s arrival as a formidable American voice.

    Sol is a dynamic teacher, and in these essays, he has captured the humor and engaging intelligence for which he is known in the classroom. With a breezy style, Sol delivers essays that are perfect for a quick read or to be grouped together as a curriculum.Though How a Poem Moves is not a textbook, it demonstrates poetry's range and pleasures through encounters with individual poems that span traditions, techniques, and ambitions. This illuminating book is for readers who are afraid they "don't get" poetry, but who believe that, with a welcoming guide, they might conquer their fear and cultivate a new appreciation.

    From the back porches of Buffalo, to the galleries of New York and L.A., to farmhouses of rural Tennessee, the artworks act as still points, sites for reflection situated in lived experience. Fleischmann combines serious engagement with warmth and clarity of prose, reveling in the experiences and pleasures of art and the body, identity and community.

    Six myths have taken hold, ones which are at odds with our lived experience and in urgent need of revision.Has freedom of speech become a cover for promoting prejudice? Has the concept of political correctness been weaponised to avoid ceding space to those excluded from power? Does white identity politics pose an urgent danger? These are some of the questions at the centre of Nesrine Malik's radical and compelling analysis that challenges us to find new narrators whose stories can fill the void and unite us behind a shared vision.

    Unifying personal narrative and cultural commentary, this collection grapples with the lessons that have been stored between parent and daughter. These parental relationships expose the conditioning that subconsciously informed her ideas on social issues such as colorism, feminism, war-induced PTSD, homophobia, marriage, and “the n-word,” among other things. These dynamics strive for some semblance of accountability, and the essays within this collection are used as displays of deep unlearning and restoring—balancing trauma and humor, poetics and reality, forgiveness and resentment.When You Learn the Alphabet allots space for large moments of tenderness and empathy for all black bodies—but especially all black woman bodies—space for the underrepresented humanity and uncared for pain of black girls, and space to have the opportunity to be listened to in order to evolve past it.

    With It Gets Me Home, This Curving Track, his first book in twenty years, legendary music critic Ian Penman takes on the black musicians who innovated and the white musicians who followed them - with a cast of characters including James Brown, Charlie Parker, Elvis Presley, Frank Sinatra, Steely Dan and Prince.

    Long documents her coming of age as an ambitious young writer plagued by chronic headache and entangled with a boyfriend’s opioid addiction. The essays that result explore the complexities of care, hurt, and hope with elegance and precision. Long exposes her every nerve, crafting a story both intimate and deeply relevant. An essential book for the opioid era.Praise for Codependence: This gutsy memoirist of opioid addiction and pain management has not prevailed over her predicament. The electric prose of this book is not written from that vantage. Nor, as she persuasively demonstrates, is there necessarily a triumphant position to which to aspire, when a case is as precarious and enveloping as hers. The art of the essay and the practice of life writing benefit from Amy Long's decisions on every page to present a narrator who is as self-excusing, furtive, and volatile as she is candid, searching, and bracingly expert in our country’s labyrinthine industry of relief and the hurt of protracted hope. Codependence gives you the room key and invites you to inspect the parameters of Purgatory. —Brian BlanchfieldAgainst all the easy recovery narratives, against all the Opioid Crisis Hand-Wringing, stands this heart-stopping book—ferociously felt, powerfully written, absolutely persuasive in its extraordinary nakedness, bravery, and gallows humor. Brilliant. —David ShieldsVividly drawn, disarmingly forthright, and darkly seductive, Amy Long’s Codependence redefines what it means to take drugs, fall in love, and belong to a family. Exhibiting a mastery of narrative form and structure while documenting one woman’s attempt to articulate her pain—as well as the lengths she will go to eradicate it—this book represents a stunning and singular debut. —Matthew VollmerAmy Long holds an MFA in creative writing from Virginia Tech and a master’s degree in women’s studies from the University of Florida. She serves as a contributing editor at the drug history blog Points.

    At a time when abortion is a criminal act and prosecution is a real risk in parts of Australia, this book is needed more than ever. In 2018, the world watched aghast when a Tasmanian woman lost her job at a high-profile sporting agency for tweeting the truth: even in states where abortion is legal, access can be nearly impossible. This treasury of stories highlights the sheer, unspoken commonality of abortion. Women have been dealing with the risks and the fall-out for longer than there is record. It is poignant, wise, funny and true; a salute to those who have been working in the field, a celebration of how far we've come, an electrifying caterwaul at how far we still have to go, and a clarion call to action. Contributors include Jane Caro, Claudia Karvan, Laura Jean, Melissa Lucashenko, Emily Maguire, Tara June Winch, Michelle Law, Tony Birch, Melanie Cheng, Anne Summers, Gideon Haigh, Monica Dux, Bri Lee, Jenny Kee, and a Foreword by Tanya Plibersek. Proceeds from Choice Words will go to the charity Marie Stopes Australia, the only national, independently-accredited, not-for-profit safe abortion provider, that has helped more than 600,000 women in the past twenty years.

    She chronicles the deaths of both her fathers, and the survival of P-22, a mountain lion in Griffith Park, Los Angeles; contemplates the loneliness of Ranee, the first elephant in Australia; celebrates the iconic eucalyptus and explores its international status as an invasive species. City of Trees is a powerful collection of nature, travel and memoir writing set in the context of global climate change. It meanders through, circles around and sometimes faces head on the most pressing issues of the day. It never loses sight of the trees.