Here too is a 1976 piece from the New York Times magazine on "Why I Write"; a piece about short stories from New West in 1978; and from The New Yorker, a piece on Hemingway from 1998, and on Martha Stewart from 2000. Each one is classic Didion: incisive, bemused, and stunningly prescient.

    Her debut book upends mainstream ideas about race, class and gender and sets forth a radically inclusive path to collective liberation. Her inclusive story about Black struggle draws on Black intellectual and grassroots organizing traditions including the Haitian Revolution, U.S. Civil Rights, and Black and LGBTQ Feminist Movements. Bold and honest, Unapologetic is an inside look from an on-the-ground activist and movement leader about how to move people from the margins to the center of political strategy and practice.

    The hierarchy of caste is not about feelings or morality. It is about power—which groups have it and which do not.”In this brilliant book, Isabel Wilkerson gives us a masterful portrait of an unseen phenomenon in America as she explores, through an immersive, deeply researched narrative and stories about real people, how America today and throughout its history has been shaped by a hidden caste system, a rigid hierarchy of human rankings.Beyond race, class, or other factors, there is a powerful caste system that influences people’s lives and behavior and the nation’s fate. Linking the caste systems of America, India, and Nazi Germany, Wilkerson explores eight pillars that underlie caste systems across civilizations, including divine will, bloodlines, stigma, and more. Using riveting stories about people—including Martin Luther King, Jr., baseball’s Satchel Paige, a single father and his toddler son, Wilkerson herself, and many others—she shows the ways that the insidious undertow of caste is experienced every day. She documents how the Nazis studied the racial systems in America to plan their out-cast of the Jews; she discusses why the cruel logic of caste requires that there be a bottom rung for those in the middle to measure themselves against; she writes about the surprising health costs of caste, in depression and life expectancy, and the effects of this hierarchy on our culture and politics. Finally, she points forward to ways America can move beyond the artificial and destructive separations of human divisions, toward hope in our common humanity.

    Before his passing in 2018, nearing ninety, Hall delivered this new collection of self-knowing, fierce, and funny essays on aging, the pleasures of solitude, and the sometimes astonishing freedoms arising from both. He intersperses memories of exuberant days—as in Paris, 1951, with a French girl memorably inclined to say, “I couldn’t care less”—with writing, visceral and hilarious, on what he has called the “unknown, unanticipated galaxy” of extreme old age.   “Why should a nonagenarian hold anything back?” Hall answers his own question by revealing several vivid instances of “the worst thing I ever did," and through equally uncensored tales of  literary friendships spanning decades, with James Wright, Richard Wilbur, Seamus Heaney, and other luminaries.  Cementing his place alongside Roger Angell and Joan Didion as a generous and profound chronicler of loss, Hall returns to the death of his beloved wife, Jane Kenyon, in an essay as original and searing as anything he's written in his extraordinary literary lifetime.

    The pervasiveness of images of torture, horror, and war has all but demolished the twentieth-century hope that such imagery might shock us into a less alienated state, or aid in the creation of a just social order. What to do now? When to look, when to turn away?Genre-busting author Maggie Nelson brilliantly navigates this contemporary predicament, with an eye to the question of whether or not focusing on representations of cruelty makes us cruel. In a journey through high and low culture (Kafka to reality TV), the visual to the verbal (Paul McCarthy to Brian Evenson), and the apolitical to the political (Francis Bacon to Kara Walker), Nelson offers a model of how one might balance strong ethical convictions with an equally strong appreciation for work that tests the limits of taste, taboo, and permissibility.

    Taste Makers stretches from World War II to the present, with absorbing and deeply researched portraits of figures including Mexican-born Elena Zelayeta, a blind chef; Marcella Hazan, the deity of Italian cuisine; and Norma Shirley, a champion of Jamaican dishes.In imaginative, lively prose, Mayukh Sen—a queer, brown child of immigrants—reconstructs the lives of these women in vivid and empathetic detail, daring to ask why some were famous in their own time, but not in ours, and why others shine brightly even today. Weaving together histories of food, immigration, and gender, Taste Makers will challenge the way readers look at what’s on their plate—and the women whose labor, overlooked for so long, makes those meals possible.

    In between, the beloved actress, writer, and Hollywood power-bruncher gets Kanye West'd at her best friend's birthday, thwarts an "only in LA" crime, and learns what it means to have it all.

    Sidibe tells the engrossing, inspiring story of her first job as a phone sex “talker.” And she shares her unconventional (of course!) rise to fame as a movie star, alongside “a superstar cast of rich people who lived in mansions and had their own private islands and amazing careers while I lived in my mom's apartment.” Sidibe’s memoir hits hard with self-knowing dispatches on friendship, depression, celebrity, haters, fashion, race, and weight (“If I could just get the world to see me the way I see myself,” she writes, “would my body still be a thing you walked away thinking about?”). Irreverent, hilarious, and nontraditional, This Is Just My Face takes its place and fills a void on the shelf of writers from Mindy Kaling to David Sedaris to Lena Dunham.

    His insights into the works of Dostoyevsky, Mandelstam, Platonov, as well as non-Russian poets Auden, Cavafy and Montale are brilliant. While the Western popularity of many other Third Wavers has been stunted by their inability to write in English, Brodsky consumed the language to attain a "closer proximity" to poets such as Auden. The book, which won a National Book Critics Circle Award, opens and closes with revealing autobiographical essay.

    In a nation of immigrants who bring their own culinary backgrounds to this country, what happens one or even two generations later? What does their cuisine become? It turns into a cuisine uniquely its own and one that Lee argues makes America the most interesting place to eat on earth. Lee illustrates this through his own life story of being a Korean immigrant and a New Yorker and now a Southerner. In Off the Menu, he shows how we each have a unique food memoir that is worthy of exploration. To Lee, recipes are narratives and a conduit to learn about a person, a place, or a point in time. He says that the best way to get to know someone is to eat the food they eat. Each chapter shares a personal tale of growth and self-discovery through the foods Lee eats and the foods of the people he interacts with—whether it’s the Korean budae jjigae of his father or the mustard beer cheese he learns to make from his wife’s German-American family. Each chapter is written in narrative form and punctuated with two recipes to highlight the story, including Green Tea Beignets, Cornbread Pancakes with Rhubarb Jam, and Butternut Squash Schnitzel. Each recipe tells a story, but when taken together, they form the arc of the narrative and contribute to the story we call the new American food.

    The teaching of poetry languishes, and that region of youthful neurological terrain capable of being ignited only by poetry is largely dark, unpopulated, and silent, like a classroom whose shades are drawn. This is more than a shame, for poetry is our common treasure-house, and we need its vitality, its respect for the subconscious, its willingness to entertain ambiguity, its plaintive truth-telling, and its imaginative exhibitions of linguistic freedom, which confront the general culture's more grotesque manipulations. We need the emotional training sessions poetry conducts us through. We need its previews of coming attractions: heartbreak, survival, failure, endurance, understanding, more heartbreak.—from "Twenty Poems That Could Save America"Twenty Poems That Could Save America presents insightful essays on the craft of poetry and a bold conversation about the role of poetry in contemporary culture. Essays on the "vertigo" effects of new poetry give way to appraisals of Robert Bly, Sharon Olds, and Dean Young. At the heart of this book is an honesty and curiosity about the ways poetry can influence America at both the private and public levels. Tony Hoagland is already one of this country's most provocative poets, and this book confirms his role as a restless and perceptive literary and cultural critic.

    White's stroll around Manhattan remains the quintessential love letter to the city, written by one of America's foremost literary figures. The New York Times has named Here is New York one of the ten best books ever written about the metropolis, and The New Yorker calls it "the wittiest essay, and one of the most perceptive, ever done on the city.

    She was, she writes, "just naturally reverent," a fact that didn't change when she--much to her own confusion--lost her faith as a teenager. Not sure why her religious conviction had come or where it had gone, she did what anyone would do: "You go about the great American work of assigning yourself to other gods: yoga, talk radio, neoatheism, CrossFit, cleanses, football, the academy, the American Dream, Beyonce."A curiosity about the subtle systems guiding contemporary life pervades Kisner's work. Her celebrated essay "Thin Places" (Best American Essays 2016), about an experimental neurosurgery developed to treat severe obsessive-compulsive disorder, asks how putting the neural touchpoint of the soul on a pacemaker may collide science and psychology with philosophical questions about illness, the limits of the self, and spiritual transformation. How should she understand the appearance of her own obsessive compulsive disorder at the very age she lost her faith?

    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.

    Now, in this extraordinary memoir, the bestselling author of The Death of Vivek Oji reveals the harrowing yet resolute truths of their own life. Through candid, intimate correspondence with friends, lovers, and family, Emezi traces the unfolding of a self and the unforgettable journey of a creative spirit stepping into power in the human world. Their story weaves through transformative decisions about their gender and body, their precipitous path to success as a writer, and the turmoil of relationships on an emotional, romantic, and spiritual plane, culminating in a book that is as tender as it is brutal.Electrifying and inspiring, animated by the same voracious intelligence that distinguishes their fiction, Dear Senthuran is a revelatory account of storytelling, self, and survival.