Poems confront craving, control, the constant battle of alcoholism and sobriety, and the questioning of the self and its instincts within the context of this never-ending fight.“In Calling a Wolf a Wolf, Kaveh Akbar exquisitely and tenaciously braids astonishment and atonement into a singular lyric voice. The desolation of alcoholism widens into hard-won insight: ‘the body is a mosque borrowed from Heaven.’ Doubt and fear spiral into grace and beauty. Akbar’s mind, like his language, is perpetually in motion. His imagery—wounded and resplendent—is masterful and his syntax ensnares and releases music that’s both delicate and muscular. Kaveh Akbar has crafted one of the best debuts in recent memory. In his hands, awe and redemption hinge into unforgettable and gorgeous poems.” —Eduardo C. Corral

    How she faces her joy, grief, anxiety, impending motherhood, and conflicted truce with the world results in a moving meditation on the nature, rapture, and perils of crying―from the history of tear-catching gadgets (including the woman who designed a gun that shoots tears) to the science behind animal tears (including moths who drink them) to the fraught role of white women's tears in racist violence.Told in short, poetic snippets, The Crying Book delights and surprises, as well as rigorously examines how mental illness can affect a family across generations and how crying can express women’s agency―or lack of agency―in everyday life. Christle’s gift is the freshness of her voice and honesty of her approach, both of which create an intimacy with readers as she explores a human behavior broadly experienced but rarely questioned. A beautiful tribute to the power of crying, and to working through despair to tears of joy.

    Whether writing about his responsibility for a brother’s death during a hunting accident, drug addiction, or being jailed during the Civil Rights struggle, lyricism erupts in the midst of desolation and violence. Orr’s spare, succinct poems distill myth from the domestic and display a richness of action and visual detail.This long-awaited collection is soulful work from a remarkable poet, whose poems have been described as "mystical, carnal, reflective, and wry." (San Francisco Review)"Love Poem"A black biplane crashes through the window of the luncheonette. The pilot climbs down, removing his leather hood. He hands me my grandmother’s jade ring. No, it is two robin’s eggs and a telephone number: yours.from "Gathering the Bones Together"A father and his four sons run down a slope toward a deer they just killed. the father and two sons carry rifles. They laugh, jostle, and chatter together. A gun goes off and the youngest brother falls to the ground. A boy with a rifle stands beside him, screaming…"Orr’s is an immaculate style of latent violence and inhibited tenderness, charged with a desperate intensity whose source is often obscure."—The New York Times Book ReviewGregory Orr is the author of seven volumes of poetry and three books of criticism. He is the editor at Virginia Quarterly Review, teaches at the University of Virginia, and lives with his wife and daughters in Charlottesville. In 2002, along with his selected poems The Caged Owl, he will also publish a memoir and a book about poetry writing: Three Strange Angels: Trauma and Transformation in Lyric Poetry.Also Available by Gregory Orr:Orpheus & Eurydice: A Lyric Sequence TP $12.00, 1-55659-151-9 • CUSA

    . . . A badass, feminist, and personal deep-dive into the science and culture of pregnancy and early motherhood that debunks myths and dated assumptions, offering guidance and camaraderie to women navigating one of the biggest and most profound changes in their lives.Like most first-time mothers, Angela Garbes was filled with questions when she became pregnant. What exactly is a placenta? How does a body go into labor? Why is breast best? What are the signs and effects of post-partum depression?But as she discovered, it’s not easy to find satisfying answers. Your OB will cautiously quote statistics; online sources will scare you with conflicting and often inaccurate information; and even the most trusted books will offer information with a heavy dose of judgment. To educate herself, the food and culture writer embarked on an intensive journey of exploration, diving into the scientific mysteries and cultural myths that surround motherhood to find answers to her questions that had only previously been given through a lens of what women ought to do—instead of allowing them the freedom to choose the right path themselves.In Like a Mother, Angela offers a rigorously researched and compelling look at the physiology, biology, chemistry, and psychology of pregnancy and motherhood, informed by research, reportage, and her own experience. With a journalist’s curiosity and discipline, a mother’s urgency, and a food writer’s insatiability, she explores the science behind the pressing questions women have about a number of subjects, including postpartum hormones, breast milk, and miscarriage.Infused with candor and humor, born out of awe, appreciation, and understanding of the human body and its workings, Like a Mother is a full-frontal look at what’s really happening underneath your skin (and to it), and why women need to know.

    A poetic meditation on identity, loss, and loneliness from the bestselling poet and visual artistAn all-new illustrated poetry collection from the bestselling author of yesterday i was the moon, New Names for Lost Things combines Noor Unnahar’s powerful poetic voice and her signature collage-style visual art for a book of highly personal reflections on loss, inheritance, and what is left behind on the nonlinear path to becoming who you are meant to be.

    In her first extended study of moral philosophy, Judith Butler offers a provocative outline for a new ethical practice-one responsive to the need for critical autonomy and grounded in a new sense of the human subject.

    White asks uncomfortable questions about the lived reality of womanhood in the 21st century, and the fear that must be internalised in order to find your path through it. White balances vivid storytelling with sharp-witted observations about the horrors of grief, mental illness, and the casual and sometimes hilarious cruelty of life.

    Because there’s no single definition of crazy, there’s no single experience that embodies it, and the word itself means different things—wild? extreme? disturbed? passionate?—to different people. (Don’t) Call Me Crazy is a conversation starter and guide to better understanding how our mental health affects us every day. Thirty-three writers, athletes, and artists offer essays, lists, comics, and illustrations that explore their personal experiences with mental illness, how we do and do not talk about mental health, help for better understanding how every person’s brain is wired differently, and what, exactly, might make someone crazy. If you’ve ever struggled with your mental health, or know someone who has, come on in, turn the pages, and let’s get talking.

    The result is an extraordinary, complex portrait of "white girls," as Als dubs them—an expansive but precise category that encompasses figures as diverse as Truman Capote and Louise Brooks, Malcolm X and Flannery O’Connor. In pieces that hairpin between critique and meditation, fiction and nonfiction, high culture and low, the theoretical and the deeply personal, Als presents a stunning portrait of a writer by way of his subjects, and an invaluable guide to the culture of our time.

    She moved from New York to San Francisco, where she landed at a big-data startup in the heart of the Silicon Valley bubble: a world of surreal extravagance, dubious success, and fresh-faced entrepreneurs hell-bent on domination, glory, and, of course, progress.Anna arrived amidst a massive cultural shift, as the tech industry rapidly transformed into a locus of wealth and power rivaling Wall Street. But amid the company ski vacations and in-office speakeasies, boyish camaraderie and ride-or-die corporate fealty, a new Silicon Valley began to emerge: one in far over its head, one that enriched itself at the expense of the idyllic future it claimed to be building.Part coming-age-story, part portrait of an already-bygone era, Anna Wiener’s memoir is a rare first-person glimpse into high-flying, reckless startup culture at a time of unchecked ambition, unregulated surveillance, wild fortune, and accelerating political power. With wit, candor, and heart, Anna deftly charts the tech industry’s shift from self-appointed world savior to democracy-endangering liability, alongside a personal narrative of aspiration, ambivalence, and disillusionment.Unsparing and incisive, Uncanny Valley is a cautionary tale, and a revelatory interrogation of a world reckoning with consequences its unwitting designers are only beginning to understand.

    When her fiancé and family don’t believe her, she flees her home in India to Canada, where she plans to raise the child as a single mother. For Kiran, living undocumented means constant anxiety over finances, work, safety, and whether she’ll be deported back to the dangers that await her in Punjab.Eighteen years later, Kiran’s daughter, Sahaara, is desperate to help her mother, who has been arrested and is facing deportation. In the aftermath, Kiran reveals the truth about Sahaara’s conception. Horrified, Sahaara encourages Kiran to speak out against the man who raped her—who’s now a popular political figure in Punjab. Sahaara must find the best way to support her mother while also dealing with the revelation about her parents.

    She was an intern at twenty-nine and met her husband on Tinder in her late thirties, after many of her friends had already gotten married, started families, and entered couples’ counseling. After a long fertility struggle, she became a first-time mom at forty-one, joining Mommy & Me classes where most of the other moms were at least ten years younger. And while she was one of Gawker’s early hires and one of the first editors at BuzzFeed, she didn’t find professional fulfillment until she co-launched the successful self-care podcast Forever35—at forty. Now, in her debut memoir, Shafrir explores the enormous pressures we feel, especially as women, to hit particular milestones at certain times and how we can redefine what it means to be a late bloomer. She writes about everything from dating to infertility, to how friendships evolve as you get older, to why being pregnant at forty-one is unexpectedly freeing—all with the goal of appreciating the lives we’ve lived so far and the lives we still hope to live. Thanks for Waiting is about how achieving the milestones you thought were so important don’t always happen on the time line you imagined. In a world of 30 Under 30 lists, this book is a welcome reminder that it’s okay to live life at your own speed.

    This new compilation of her published work features pieces on why you should pursue purpose over passion, embrace negative thinking, see the wisdom in daily routine, and become aware of the cognitive biases that are creating the way you see your life. Some of these pieces have never been seen; others have been read by millions of people around the world. Regardless, each will leave you thinking: this idea changed my life.

    It is delightfully and uncomfortably relatable and I love it with my whole self—heart, sweat, bowels, and all."—Carmen Maria Machado, author of Her Body and Other Parties We sniff our knickers; we bite our own toenails; we laboriously dig out ingrown hairs: Women aren't as ladylike as people would like to imagine. Using anecdotes collected from hundreds of anonymous sources, this gleefully disgusting illustrated book rewrites our definition of femininity. One day, the artist Tallulah Pomeroy overhead a conversation between two girls about another friend of theirs they knew in college. Apparently, when this friend had been on tour with the rugby team, she'd drunkenly 'done a shit in the sink.' 'She's not a girl if she did that,' said one to the other. 'She may have a vagina, but she's not a girl.'This exchange made Tallulah laugh, but it also made her think. How many things had her friends done that meant they 'weren't girls?' She made a Facebook group and asked people to submit stories about their 'unladylike' behaviors. The page was soon flooded with more stories than she could have ever imagined: about ear wax and trapped wind, gray pubes and bloody pajamas. It became a community of honest, funny, and supportive women, who, by admitting to things they'd thought were shameful, no longer had to feel ashamed.For A Girl's Guide to Personal Hygiene, Tallulah made original illustrations to accompany a selection of those Facebook posts—plus dozens more from an expanded call for submissions—to create an exuberant and galvanizing handbook for all the nasty women of the world.

    Oddly, she finds it s a place populated with not just hope, but a newfound appreciation for the splendors of the physical world. Her fight to stay alive, while terrifying, is deeply vibrant."