For a long time, Nadja Spiegelman believed her mother was a fairy. More than her famous father, Maus creator Art Spiegelman, and even more than most mothers, hers—French-born New Yorker art director Françoise Mouly—exerted a force over reality that was both dazzling and daunting. As Nadja’s body changed and “began to whisper to the adults around me in a language I did not understand,” their relationship grew tense. Unwittingly, they were replaying a drama from her mother’s past, a drama Nadja sensed but had never been told. Then, after college, her mother suddenly opened up to her. Françoise recounted her turbulent adolescence caught between a volatile mother and a playboy father, one of the first plastic surgeons in France. The weight of the difficult stories she told her daughter shifted the balance between them.  It had taken an ocean to allow Françoise the distance to become her own person. At about the same age, Nadja made the journey in reverse, moving to Paris determined to get to know the woman her mother had fled.  Her grandmother’s memories contradicted her mother’s at nearly every turn, but beneath them lay a difficult history of her own. Nadja emerged with a deeper understanding of how each generation reshapes the past in order forge ahead, their narratives both weapon and defense, eternally in conflict. Every reader will recognize herself and her family in this gorgeous and heartbreaking memoir, which helps us to see why sometimes those who love us best hurt us most.

    Each of us, too, is a landscape inscribed by memory and loss. One life-defining lesson Lauret Savoy learned as a young girl was this: the American land did not hate. As an educator and Earth historian, she has tracked the continent’s past from the relics of deep time; but the paths of ancestors toward her—paths of free and enslaved Africans, colonists from Europe, and peoples indigenous to this land—lie largely eroded and lost.In this provocative and powerful mosaic of personal journeys and historical inquiry across a continent and time, Savoy explores how the country’s still unfolding history, and ideas of “race,” have marked her and the land. From twisted terrain within the San Andreas Fault zone to a South Carolina plantation, from national parks to burial grounds, from “Indian Territory” and the U.S.-Mexico Border to the U.S. capital, Trace grapples with a searing national history to reveal the often unvoiced presence of the past.In distinctive and illuminating prose that is attentive to the rhythms of language and landscapes, she weaves together human stories of migration, silence, and displacement, as epic as the continent they survey, with uplifted mountains, braided streams, and eroded canyons.

    Now, however, conversation has turned to whether it's necessary to have it all or, perhaps more controversial, whether children are really a requirement for a fulfilling life. The idea that some women and men prefer not to have children is often met with sharp criticism and incredulity by the public and mainstream media.In this provocative and controversial collection of essays, curated by writer Meghan Daum, sixteen acclaimed writers explain why they have chosen to eschew parenthood. Contributors Lionel Shriver, Sigrid Nunez, Kate Christiensen, Elliott Holt, Geoff Dyer, and Tim Kreider, among others, offer a unique perspective on the overwhelming cultural pressure of parenthood.Selfish, Shallow, and Self-Absorbed makes a thoughtful and passionate case for why parenthood is not the only path in life, taking our parent-centric, kid-fixated, baby-bump-patrolling culture to task in the process. What emerges is a more nuanced, diverse view of what it means to live a full, satisfying life.

    She volunteered to take the message to China, where the preaching she did was illegal and could result in her expulsion or worse. Here, she had some distance from her community for the first time. Immersion in a foreign language and culture--and a whole new way of thinking--turned her world upside down, and eventually led her to lose all that she had been sure was true.As a proselytizer in Shanghai, using fake names and secret codes to evade the authorities' notice, Scorah discreetly looked for targets in public parks and stores. To support herself, she found work at a Chinese language learning podcast, hiding her real purpose from her coworkers. Now with a creative outlet, getting to know worldly people for the first time, she began to understand that there were other ways of seeing the world and living a fulfilling life. When one of these relationships became an "escape hatch," Scorah's loss of faith culminated in her own personal apocalypse, the only kind of ending possible for a Jehovah's Witness.Shunned by family and friends as an apostate, Scorah was alone in Shanghai and thrown into a world she had only known from the periphery--with no education or support system. A coming of age story of a woman already in her thirties, this unforgettable memoir examines what it's like to start one's life over again with an entirely new identity. It follows Scorah to New York City, where a personal tragedy forces her to look for new ways to find meaning in the absence of religion. With compelling, spare prose, Leaving the Witness traces the bittersweet process of starting over, when everything one's life was built around is gone.

    Though imperfect in every way, her dysfunctional childhood was as beautiful as it was strange, and as nurturing as it was difficult. At the age of five, Brandi contracted bacterial meningitis, which almost took her life, leaving an indelible mark on her formative years and altering her journey into young adulthood.As an openly gay teenager, Brandi grappled with the tension between her sexuality and her faith when her pastor publicly refused to baptize her on the day of the ceremony. Shockingly, her small town rallied around Brandi in support and set her on a path to salvation where the rest of the misfits and rejects find it: through twisted, joyful, weird, and wonderful music.In Broken Horses, Brandi Carlile takes listeners through the events of her life that shaped her very raw art - from her start at a local singing competition where she performed Elton John’s “Honky Cat” in a bedazzled white polyester suit, to her first break opening for Dave Matthews Band, to many sleepless tours over 15 years and six studio albums, all while raising two children with her wife, Catherine Shepherd. This hard-won success led her to collaborations with personal heroes like Elton John, Dolly Parton, Mavis Staples, Pearl Jam, Tanya Tucker, and Joni Mitchell, as well as her peers in the supergroup The Highwomen, and ultimately to the Grammy stage, where she converted millions of viewers into instant fans.Evocative and piercingly honest, Broken Horses is at once an examination of faith through the eyes of a person rejected by the church’s basic tenets and a meditation on the moments and lyrics that have shaped the life of a creative mind, a brilliant artist, and a genuine empath on a mission to give back.

    Her compelling and demanding collection The Death of Adam—in which she reflected on her Presbyterian upbringing, investigated the roots of Midwestern abolitionism, and mounted a memorable defense of Calvinism—is respected as a classic of the genre, praised by Doris Lessing as “a useful antidote to the increasingly crude and slogan-loving culture we inhabit.” In this new collection she returns to the themes which have preoccupied her work: the role of faith in modern life, the inadequacy of fact, the contradictions inherent in human nature. Clear-eyed and forceful as ever, Robinson demonstrates once again why she is regarded as a modern rhetorical master.

    Her family dated back to the group's origins in the first half of the nineteenth century, and her father was a high-ranking minister. However, as an intelligent, inquiring child, Stott was always asking dangerous questions and so, it turns out, was her father, who was also full of doubt. When a sex scandal tore the Exclusive Brethren apart in 1970, her father pulled the family out of the cult. But its impact on their lives shaped everything before and all that was to come.The Iron Room (named for the windowless meeting houses made of corrugated iron where the Brethren would worship) is Stott's attempt to understand and even forgive her father: a brilliant, charismatic, difficult, and at times cruel man who nonetheless inspired his daughter with his love of literature, film, and art and with his passion for life.

    The American Midwest is a place beyond definition, whose very boundaries are a question. It’s a place of rolling prairies and towering pines, where guns in bars and trucks on blocks are as much a part of the landscape as rivers and lakes and farms. Where girls are girls and boys are boys, where women are mothers and wives, where one is taught to work hard and live between the lines. But what happens when those lines become increasingly unclear? When a girl, like the land that raised her, finds herself neither here nor there?In this intrepid collection of essays, Melissa Faliveno traverses the liminal spaces of her childhood in working-class Wisconsin and the paths she’s traveled since, compelled by questions of girlhood and womanhood, queerness and class, and how the lands of our upbringing both define and complicate us even long after we’ve left. Part personal narrative, part cultural reportage, Tomboyland navigates midwestern traditions, mythologies, landscapes, and lives to explore the intersections of identity and place. From F5 tornadoes and fast-pitch softball to gun culture, strange glacial terrains, kink party potlucks, and the question of motherhood, Faliveno asks curious, honest, and often darkly funny questions about belonging and the body, isolation and community, and what we mean when we use words like woman, family, and home.

    She visited forty states with the candidate, made more than 3,800 live television reports, listened to endless loops of Elton John’s "Tiny Dancer"—a Trump rally playlist staple.From day 1 to day 500, Tur documented Trump’s inconsistencies, fact-checked his falsities, and called him out on his lies. In return, Trump repeatedly singled out Tur. He tried to charm her, intimidate her, and shame her. At one point, he got a crowd so riled up against her, Secret Service agents had to walk her to her car.None of it worked. Facts are stubborn. So was Tur. She was part of the first women-led politics team in the history of network news. The Boys on the Bus became the Girls on the Plane--but the circus remained. Through all the long nights, wild scoops, naked chauvinism, dodgy staffers, and fevered debates, no one had a better view than Tur.Unbelievable is her darkly comic, fascinatingly bizarre, and often scary story of how America sent a former reality show host to the White House. It’s also the story of what it was like for Tur to be there as it happened, inside a no-rules world where reporters were spat on, demeaned, and discredited. Tur was a foreign correspondent who came home to her most foreign story of all.FROM THE RECIPIENT OF THE  2017 Walter Cronkite Award for Excellence in Journalism

    Leslie Jamison deftly excavates the stories we tell about addiction--both her own and others'--and examines what we want these stories to do, and what happens when they fail us.All the while, she offers a fascinating look at the larger history of the recovery movement, and at the literary and artistic geniuses whose lives and works were shaped by alcoholism and substance dependence, including John Berryman, Jean Rhys, Raymond Carver, Billie Holiday, David Foster Wallace, and Denis Johnson, as well as brilliant figures lost to obscurity but newly illuminated here.For the power of her striking language and the sharpness of her piercing observations, Jamison has been compared to such iconic writers as Joan Didion and Susan Sontag. Yet her utterly singular voice also offers something new. With enormous empathy and wisdom, Jamison has given us nothing less than the story of addiction and recovery in America writ large, a definitive and revelatory account that will resonate for years to come.

    The result is this stunning memoir. Featuring 78 poems, 78 essays and intimate family photographs, Alexie shares raw, angry, funny, profane, tender memories of a childhood few can imagine--growing up dirt-poor on an Indian reservation, one of four children raised by alcoholic parents. Throughout, a portrait emerges of his mother as a beautiful, mercurial, abusive, intelligent, complicated woman. You Don't Have To Say You Love Me is a powerful account of a complicated relationship, an unflinching and unforgettable remembrance.

    From the award-winning author of The Shell Collector and About Grace comes an evocative memoir of the timeless beauty of Rome and the day-to-day wonderment of living, writing, and raising twin boys in a foreign city.

    Broom's mother Ivory Mae bought a shotgun house in the then-promising neighborhood of New Orleans East and built her world inside of it. It was the height of the Space Race and the neighborhood was home to a major NASA plant--the postwar optimism seemed assured. Widowed, Ivory Mae remarried Sarah's father Simon Broom; their combined family would eventually number twelve children. But after Simon died, six months after Sarah's birth, the Yellow House would become Ivory Mae's thirteenth and most unruly child.A book of great ambition, Sarah M. Broom's The Yellow House tells a hundred years of her family and their relationship to home in a neglected area of one of America's most mythologized cities. This is the story of a mother's struggle against a house's entropy, and that of a prodigal daughter who left home only to reckon with the pull that home exerts, even after the Yellow House was wiped off the map after Hurricane Katrina. The Yellow House expands the map of New Orleans to include the stories of its lesser known natives, guided deftly by one of its native daughters, to demonstrate how enduring drives of clan, pride, and familial love resist and defy erasure. Located in the gap between the "Big Easy" of tourist guides and the New Orleans in which Broom was raised, The Yellow House is a brilliant memoir of place, class, race, the seeping rot of inequality, and the internalized shame that often follows. It is a transformative, deeply moving story from an unparalleled new voice of startling clarity, authority, and power.

    Increasingly fascinated by this most shameful of experiences, she began to explore the lonely city by way of art. Moving fluidly between works and lives -- from Edward Hopper's Nighthawks to Andy Warhol's Time Capsules, from Henry Darger's hoarding to the depredations of the AIDS crisis -- Laing conducts an electric, dazzling investigation into what it means to be alone, illuminating not only the causes of loneliness but also how it might be resisted and redeemed.

    Armed with wit, a pencil-thin mustache, and a cardboard sign that reads "I’m Not Psycho," he hitchhikes across America from Baltimore to San Francisco, braving lonely roads and treacherous drivers. But who should we be more worried about, the delicate film director with genteel manners or the unsuspecting travelers transporting the Pope of Trash?Before he leaves for this bizarre adventure, Waters fantasizes about the best and worst possible scenarios: a friendly drug dealer hands over piles of cash to finance films with no questions asked, a demolition-derby driver makes a filthy sexual request in the middle of a race, a gun-toting drunk terrorizes and holds him hostage, and a Kansas vice squad entraps and throws him in jail. So what really happens when this cult legend sticks out his thumb and faces the open road?