In This Will Be My Undoing, she takes on perhaps one of the most provocative contemporary topics: What does it mean to “be”—to live as, to exist as—a black woman today? This is a book about black women, but it’s necessary reading for all Americans.

    But for many years Maeve was a journalist, writing for The Irish Times.From 'The Student Train' to 'Plane Bores', 'Bathroom Joggers' to 'When Beckett met Binchy', these articles have all the warmth, wit and humanity of her fiction. Arranged in decades, from the 1960s to the 2000s, and including Maeve's first and last ever piece of writing for The Irish Times, the columns also give a fascinating insight into the author herself.With an introduction written by her husband, the writer Gordon Snell, this collection of timeless writing reminds us of why the leading Irish writer was so universally loved.

     Equality for LGBT people has come a long way and all, but voices of persons of color within the community are still often silenced, and being black in America is…well, have you watched the news? With the characteristic wit and candor that have made him one of today’s boldest writers on social issues, I Can’t Date Jesus is Michael Arceneaux’s impassioned, forthright, and refreshing look at minority life in today’s America. Leaving no bigoted or ignorant stone unturned, he describes his journey in learning to embrace his identity when the world told him to do the opposite. He eloquently writes about coming out to his mother; growing up in Houston, Texas; that time his father asked if he was “funny” while shaking his hand; his obstacles in embracing intimacy; and the persistent challenges of young people who feel marginalized and denied the chance to pursue their dreams. Perfect for fans of David Sedaris and Phoebe Robinson, I Can’t Date Jesus tells us—without apologies—what it’s like to be outspoken and brave in a divisive world.

    Doug Jones' prosecution of the last living bombers. On September 15, 1963, the 16th Street Baptist Church in Birmingham, Alabama was bombed. The blast killed four young girls and injured twenty-two others. The FBI suspected four particularly radical Ku Klux Klan members. Yet due to reluctant witnesses, a lack of physical evidence, and pervasive racial prejudice the case was closed without any indictments.But as Martin Luther King, Jr. famously expressed it, "the arc of the moral universe is long, but it bends toward justice." Years later, Alabama Attorney General William Baxley reopened the case, ultimately convicting one of the bombers in 1977. Another suspect passed away in 1994, and US Attorney Doug Jones tried and convicted the final two in 2001 and 2002, representing the correction of an outrageous miscarriage of justice nearly forty years in the making. Jones himself went on to win election as Alabama's first Democratic Senator since 1992 in a dramatic race against Republican challenger Roy Moore.Bending Toward Justice is a dramatic and compulsively readable account of a key moment in our long national struggle for equality, related by an author who played a major role in these events. A distinguished work of legal and personal history, the book is destined to take its place alongside other canonical civil rights histories like Parting the Waters and Mississippi Burning.

    With refreshing honesty she brings the reader into the room as she gets a Brazilian wax, into the car as she chauffeurs a U.S. senator, and onto the sidewalk with her as she visits the New York apartments of a vanished poet. The perils of falling in love with an unattainable and of being the unattained love come together here with her farewell to a cousin who’s joining a convent. Striking a perfect perch between reflection and humor, Rooney explores every facet of her life as she struggles to find her place in the world

    "Speeches and interviews from the last two years of his life.

    fin-na /ˈfinə/ contraction: (1) going to; intending to. rooted in African American Vernacular English. (2) eye dialect spelling of "fixing to." (3) Black possibility; Black futurity; Blackness as tomorrow.A lyrical and sharp celebration, these poems consider the brevity and disposability of Black lives and other oppressed people in our current era of emboldened white supremacy. In three key parts, Finna explores the mythos and erasure of names in the American narrative; asks how gendered language can provoke violence; and finally, through the celebration and examination of the Black vernacular, expands the notions of possibility, giving us a new language of hope.

    While considering the direction of his own life, he began to contemplate the existence of this colossal tree. Standing in England for centuries, the oak would have been a sapling when the Magna Carta was signed in 1215.Canton examines our long-standing dependency on the oak, and how that has developed and morphed into myth and legend. We no longer need these sturdy trees to build our houses and boats, to fuel our fires, or to grind their acorns into flour in times of famine. What purpose, then, do they serve in our world today? Are these miracles of nature no longer necessary to our lives? What can they offer us? Canton tells the story of this tree in its ecological, spiritual, literary, and historical contexts, using it as a prism to see his own life and human history. The Oak Papers is a reflection on change and transformation, and the role nature has played in sustaining and redeeming us.

    The poems weave between personal narrative and pop-cultural criticism, examining and confronting modern media, consumption, feminism, and Blackness. This collection explores femininity and race in the contemporary American political climate, folding in references from jazz standards, visual art, personal family history, and Hip Hop. The voice of this book is a multifarious one: writing and rewriting bodies, stories, and histories of the past, as well as uttering and bearing witness to the truth of the present, and actively probing toward a new self, an actualized self. This is a book at the intersections of mythology and sorrow, of vulnerability and posturing, of desire and disgust, of tragedy and excellence.

    He also carried with him a sketchbook. After his sudden death, his friends rescued letters, manuscripts, notes—but no drawings.For years, without knowing what its pages might hold, John Berger has imagined finding Bento’s sketchbook, wanting to see the drawings alongside his surviving words. When one day a friend gave him a beautiful virgin sketchbook, Berger said, “This is Bento’s!” and he began to draw, taking his inspiration from the philosopher’s vision.In this illustrated color book John Berger uses the imaginative space he creates to explore the process of drawing, politics, storytelling and Spinoza’s life and times.

    The series of essays that follow, on figures central to Zambreno’s thinking, including Kathy Acker, David Wojnarowicz, and Barbara Loden, are manifestos about art that ingeniously intersect and chime with the stories that came before them.

    And it's no surprise--tuning in to them is like listening to the funniest, smartest people you know dissect a topic and then light it on fire. Now they've written the most entertaining guide to life you'll ever read, in which all the important questions are asked: How do I talk to my kids about drugs if I do them too? How do I bet on sports? How should I behave in jail? How much is too much to spend on sneakers? Is porn really that bad for me?The pair met in high school, and as they put it: "We want to share all we've learned, after years in the Bronx streets, with you: the people. So with a lifetime spent building up a plethora of information from trials and tribulations and a handful of misdemeanors, we decided to write this book--a sequel to the Bible, or maybe to The Hitchhiker's Guide to the Galaxy, depending on how big a nerd you are. Let this book be your North Star."

    You’re going to have to get a light-skinned husband for the sake of your children as it is.”In these words from her mother, novelist and memoirist Marita Golden learned as a girl that she was the wrong color. Her mother had absorbed “colorism” without thinking about it. But, as Golden shows in this provocative book, biases based on skin color persist–and so do their long-lasting repercussions. Golden recalls deciding against a distinguished black university because she didn’t want to worry about whether she was light enough to be homecoming queen. A male friend bitterly remembers that he was teased about his girlfriend because she was too dark for him. Even now, when she attends a party full of accomplished black men and their wives, Golden wonders why those wives are all nearly white. From Halle Berry to Michael Jackson, from Nigeria to Cuba, from what she sees in the mirror to what she notices about the Grammys, Golden exposes the many facets of "colorism" and their effect on American culture. Part memoir, part cultural history, and part analysis, Don't Play in the Sun also dramatizes one accomplished black woman's inner journey from self-loathing to self-acceptance and pride.

    Ross invented the entertainment profile. She was the first person to write journalism in “scenes” as novelists do, and her profiles are full of humor and details that bring her subjects alive on the page. Her style has been studied and imitated by numerous writers. But there is only one Lillian Ross: spirited, funny, factual, and unforgettable. Reporting Always collects a wide range of Lillian Ross’s New Yorker articles and “Talk of the Town” pieces spanning sixty years, bringing readers into Robin Williams’s living room; Harry Winston’s office; the afterschool hangouts of Manhattan private-school children; the hotel rooms of Ernest Hemingway, John Huston, and Charlie Chaplin; onto the tennis court with John McEnroe; and into the lives of many other famous and not-so-famous characters. Ross’s portraits are filled with rich details that reveal her subjects in amusing and perceptive ways. A foreword by David Remnick discusses Ross’s trademark style and her important place in the history of The New Yorker.

    Sixteen performance artists discuss human sexuality, racism, sexism, and the ways in which art can be used to break down taboos and dogma.