Modeled loosely after a medieval bestiary, these witty, playful, whipsmart essays traverse history, myth, science, and more, bringing each beast vibrantly to life.

    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.

    Perfect for fans of Lindy West, Samantha Irby, and Rebecca Solnit—and anyone who wants, and deserves, to be seen. If Jen Winston knows one thing for sure, it’s that she’s bisexual. Or wait—maybe she isn’t? Actually, she definitely is. Unless…she’s not? Jen’s provocative, laugh-out-loud debut takes us inside her journey of self-discovery, leading us through stories of a childhood “girl crush,” an onerous quest to have a threesome, and an enduring fear of being bad at sex. Greedy follows Jen’s attempts to make sense of herself as she explores the role of the male gaze, what it means to be “queer enough,” and how to overcome bi stereotypes when you’re the posterchild for all of them: greedy, slutty, and constantly confused. With her clever voice and clear-eyed insight, Jen draws on personal experiences with sexism and biphobia to understand how we all can and must do better. She sheds light on the reasons women, queer people, and other marginalized groups tend to make ourselves smaller, provoking the question: What would happen if we suddenly stopped?​​ Greedy shows us that being bisexual is about so much more than who you’re sleeping with—it’s about finding stability in a state of flux and defining yourself on your own terms. This book inspires us to rethink the world as we know it, reminding us that Greedy was a superpower all along.

    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.

    Dick is the magnificent and imaginative final work of an author who dedicated his life to questioning the nature of reality and perception, the malleability of space and time, and the relationship between the human and the divine. Edited and introduced by Pamela Jackson and Jonathan Lethem, this will be the definitive presentation of Dick’s brilliant, and epic, final work. In The Exegesis, Dick documents his eight-year attempt to fathom what he called "2-3-74," a postmodern visionary experience of the entire universe "transformed into information." In entries that sometimes ran to hundreds of pages, Dick tried to write his way into the heart of a cosmic mystery that tested his powers of imagination and invention to the limit, adding to, revising, and discarding theory after theory, mixing in dreams and visionary experiences as they occurred, and pulling it all together in three late novels known as the VALIS trilogy. In this abridgment, Jackson and Lethem serve as guides, taking the reader through the Exegesis and establishing connections with moments in Dick’s life and work.

    Plumbing the well of culture for clues and patterns about love and loss—from Agnes Martin's abstract paintings to James Turrell's transcendent light works, and Anne Carson's Eros the Bittersweet to Frank Ocean's Blonde—Pham writes of her youthful attempts to find meaning in travel, sex, drugs, and art, before sensing that she might need to turn her gaze upon herself. Pop Song is also a book about distances, near and far. As she travels from Taos, New Mexico, to Shanghai, China and beyond, Pham meditates on the miles we are willing to cover to get away from ourselves, or those who hurt us, and the impossible gaps that can exist between two people sharing a bed.Pop Song is a book about all the routes by which we might escape our own needs before finally finding a way home. There is heartache in these pages, but Pham's electric ways of seeing create a perfectly fractured portrait of modern intimacy that is triumphant in both its vulnerability and restlessness.

    In her poem “Deliverance” about her daughter’s birth she writes “What is the word for when the light leaves the body?/What is the word for when it/at last, returns?”Through poems that are as unforgettably beautiful as they are accessible, Kate proves herself to truly be an exemplary voice in modern poetry. As easy to post on Instagram as they are to print out and frame, Kate’s words make women feel seen in their own bodies, in their own marriages, and in their own lives. Her poems are those you share with your mother, your daughter, your sister, and your friends.

    This collection, a meditative extension of that answer, draws from philosophy, art, literature, mythology, anthropology, film, and other fields, as well as Johnson’s personal experience, to consider how our ideas about justice might be expanded beyond vengeance and retribution to include acts of compassion, patience, mercy, and grace. From “Speak Truth to Power,” about the condition of not being believed about rape and assault; to “Goliath,” about the concept of evil; to “Girlhood in a Semi-Barbarous Age,” about the sacred feminine, “ideal woman,” and feminist art, Johnson creates masterful, elaborate, gorgeously written essays that speak incisively about our current era. She grapples with justice and retribution, truth and fairness, and sexual assault and workplace harassment, as well as the broadest societal wrongs: the BP Oil Spill, government malfeasance, police killings. The Reckonings is a powerful and necessary work, ambitious in its scope, which strikes at the heart of our national conversation about the justness of society.

    I Don't Care About Your Band posits that lately the worst guys to date are the ones who seem sensitive. It's the jerks in nice guy clothing, not the players in Ed Hardy, who break the hearts of modern girls who grew up in the shadow of feminism, thinking they could have everything, but end up compromising constantly. The cowards, the kidults, the critics, and the contenders: these are the stars of Klausner's memoir about how hard it is to find a man--good or otherwise--when you're a cynical grown-up exiled in the dregs of Guyville. Off the popularity of her New York Times "Modern Love" piece about getting the brush-off from an indie rock musician, I Don't care About Your Band is marbled with the wry strains of Julie Klausner's precocious curmudgeonry and brimming with truths that anyone who's ever been on a date will relate to. Klausner is an expert at landing herself waist-deep in crazy, time and time again, in part because her experience as a comedy writer (Best Week Ever, TV Funhouse on SNL) and sketch comedian from NYC's Upright Citizens Brigade fuels her philosophy of how any scene should unfold, which is, "What? That sounds crazy? Okay, I'll do it." I Don't Care About Your Band charts a distinctly human journey of a strong-willed but vulnerable protagonist who loves men like it's her job, but who's done with guys who know more about love songs than love. Klausner's is a new outlook on dating in a time of pop culture obsession, and she spent her 20's doing personal field research to back up her philosophies. This is the girl's version of High Fidelity. By turns explicit, funny and moving, Klausner's debut shows the evolution of a young woman who endured myriad encounters with the wrong guys, to emerge with real- world wisdom on matters of the heart. I Don't Care About Your Band is Julie Klausner's manifesto, and every one of us can relate.

    When Jill's parent came out as transgender, Jill pushed through the male-dominated landscape of Hollywood to create the groundbreaking and award-winning Amazon TV series Transparent. Exploring identity, love, sexuality, and the blurring of boundaries through the dynamics of a complicated and profoundly resonant American family, Transparent gave birth to a new cultural consciousness. While working on the show and exploding mainstream ideas about gender, Jill began to erase the lines on their own map, finding their voice as a director, show creator, and activist. She Wants It: Desire, Power, and Toppling the Patriarchy moves with urgent rhythms, wild candor, and razor-edged humor to chart Jill's evolution from straight, married mother of two to identifying as queer and nonbinary. This intense and revelatory metamorphosis challenges the status quo and reflects the shifting power dynamics that continue to shape our collective worldview. With unbridled insight that offers a rare front seat to the inner workings of the #metoo movement and its aftermath, Jill captures the zeitgeist of a generation with thoughtful and revolutionary ideas about gender, inclusion, desire, and consent.

    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.

    Her first book, Klee Wyck, won the prestigious Governor General’s Literary Award for non-fiction in 1941. The Book of Small is a collection of thirty-six word sketches in which Emily Carr relates anecdotes about her life as a young girl in the frontier town of Victoria. She notes: "There were a great many things that I only half understood, such as saloons and the Royal Family and the Chain Gang." The young Emily, who gave herself the nickname "Small," was an intense, observant and sensitive yet rebellious child, who often got into scrapes because of her frankness or innocence. The vividly told stories reveal an awareness of the comedy -- and pathos -- of people and situations. The also offer an intimate look into childhood in a pioneer society in Victorian Times. The Book of Small is a classic memoir of early childhood and a wonderful addition to The Emily Carr Library.In her empathetic and engaging introduction, award-winning children’s writer Sarah Ellis puts The Book of Small into the context of Emily Carr’s life and times, which, she points out, have similarities to those of Lucy Maud Montgomery and Beatrix Potter.

    In The Harm in Asking, she boldly addresses the bizarre indignities of everyday life: from invisible pets to mobster roommates, from a hatred of mayonnaise to an unrequited love of k.d. lang, from the ruinous side effect of broccoli to the sheer delight of a male catalogue model. In a voice that is incisive and entirely her own, Barron proves herself the master of the awkward, and she achieves something wonderful and rare: a book that makes you laugh out loud. Simply put: if you read it, you will never be the same.**That's not true. You'll probably stay the same. But you'll have laughed a lot. And you'll have learned a fun fact about Jessica Simpson's home spray. See? You didn't even know she had a home spray! The learning has already begun.

    Every project, from a misshapen hat to the most magnificent sweater, holds a story. Yarn Harlot tells all those stories with humor, insight, and sympathy for the obsessed.Over 50 million people in America knit. The average knitter spends between $500 and $1,700 a year on yarn, patterns, needles, and books. No longer just a fad or a hobby, knitting has advanced to a lifestyle.Yarn Harlot: The Secret Life of a Knitter moves beyond instructions and patterns into the purest elements of knitting: obsession, frustration, reflection, and fun. Stephanie Pearl-McPhee's humorous and poignant essays find humor in knitting an enormous afghan that requires a whopping 30 balls of wool, having a husband with size 13 feet who loves to wear hand-knit socks, and earns her "yarn harlot" title with her love of any new yarn--she'll quickly drop an old project for the fresh saucy look of a new interesting yarn.Since the upsurge in knitting began in the early '90s, the number of women under 45 who knit has doubled. Knitting is no longer a hobby for just grandmothers--women and men of all ages are embracing this art. Describing its allure is best left to Stephanie who explains: "It is a well-known fact that knitting is a sparkling form of entertainment, as spiritual as yoga, as relaxing as a massage, and as funny as Erma Bombeck trapped in a PTA meeting."

    It was a decision her mother railed against from the moment the idea was raised. Win had very little agency in the world, every choice was determined by the men in her life. And strangely, she wanted the same for her daughter. Attending university wasn't for the likes of the Orr family. Worse still, it would mean leaving Win behind - and Win wanted Deborah with her at all times, rather like she wanted her arm with her at all times. But while she managed to escape, Deborah's severing from her family was only superficial. She continued to travel back to Motherwell, fantasizing about the day that Win might come to accept her as good enough. Though of course it was never meant to be.Motherwell is a sharp, candid and often humorous memoir about the long shadow that can be cast when the core relationship in your life compromises every effort you make to become an individual. It is about what we inherit - the good and the very bad - and how a deeper understanding of the place and people you have come from can bring you towards redemption.