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.

    Her sister, Sabreen, survived a harrowing journey to Italy.Ajida escaped horrific violence, but then found herself battling the elements to keep her family safe in their new makeshift home.Author Malala Yousafzai introduces some of the people behind the statistics and news stories we read or hear every day about the millions of people displaced worldwide.Malala's experiences visiting refugee camps caused her to reconsider her own displacement - first as an Internally Displaced Person when she was a young child in Pakistan, and then as an international activist who could travel anywhere in the world except to the home she loved. In We Are Displaced, which is part memoir, part communal storytelling, Malala not only explores her own story, but she also shares the personal stories of some of the incredible girls she has met on her journeys - girls who have lost their community, relatives, and often the only world they've ever known.In a time of immigration crises, war, and border conflicts, We Are Displaced is an important reminder from one of the world's most prominent young activists that every single one of the 68.5 million currently displaced is a person - often a young person - with hopes and dreams.

    A heartbreaking, wry, brutally honest, and creative play on a personal ad—in which a dying wife encouraged her husband to go on and find happiness after her demise—the column quickly went viral, reaching more than five million people worldwide.In My Wife Said You May Want to Marry Me, Jason describes what came next: his commitment to respecting Amy’s wish, even as he struggled with her loss. Surveying his life before, with, and after Amy, Jason ruminates on love, the pain of watching a loved one suffer, and what it means to heal—how he and their three children, despite their profound sorrow, went on. Jason’s emotional journey offers insights on dying and death and the excruciating pain of losing a soulmate, and illuminates the lessons he learned.As he reflects on Amy’s gift to him—a fresh start to fill his empty space with a new story—Jason describes how he continues to honor Amy’s life and her last wish, and how he seeks to appreciate every day and live in the moment while trying to help others coping with loss. My Wife Said You May Want to Marry Me is the poignant, unreserved, and inspiring story of a great love, the aftermath of a marriage ended too soon, and how a surviving partner eventually found a new perspective on life’s joys in the wake of tremendous loss.

    In this follow-up to Men Explain Things to Me, Rebecca Solnit offers commentary on women who refuse to be silenced, misogynistic violence, the fragile masculinity of the literary canon, the gender binary, the recent history of rape jokes, and much more.

    . . most thought-provoking."--BooklistIn 1997 twenty-year-old Colleen Stan left home to hitchhike from Oregon to California. Seven years later she emerged from hell, the victim of a bizarre and extraordinary crime.This is Colleen's incredible true story, told by the determined young district attorney who prosecuted the man who had forced her to endure years of sexual perversion . . . and held her captive in a coffin-like box under his and his wife's bed. A story of riveting psychological intensity and gripping courtroom drama, Perfect Victim reveals the whole truth about Collen Stan's real-life nightmare . . . and the psychopath who enslaved her body and her mind."Horrifying!"--The Cincinnati Post"Hard to put down!"--Chicago Tribune"A gripping and disturbing story of the secret life of apparently normal people. At once, horrific and engrossing."--Vincent Bugliosi, author of Helter Skelter

    This book would be impressive enough as a collection of finely-forged fragments, but as it weaves itself into an even more impressive whole, my hat came off. Lily Hoang writes like she has nothing to lose and everything at stake.” —Maggie Nelson“A Bestiary is a work of great subtlety, precision, intelligence, daring, and emotive keenness. It seems completely contemporary (by which I mean that it is unlike anything I’ve read and that it makes me want to change my own writerly procedures). With head¬long, reckless, improvisatory gestures, Lily Hoang prompts us to rethink what literature today can dare to aspire to. Her intellectually magnanimous book’s position on the threshold between recognizable ‘literature’ and some other vanguard form of performance/utterance made me feel happy and stimulated and dizzy (in a rapturous way) while I was reading it.” —Wayne Koestenbaum“The most perfect use of fragmentation, myth, language, fairytale, and terrible beauty that I have ever seen in my life. I’m swooning. My faith in what writing can be has been restored.” —Lidia YuknavitchLily Hoang is the author of four books, including Changing, recipient of a PEN Open Books Award. She has two novels forthcoming: Old Cat Lady and The Book of Martha and she co-edited the anthology The Force of What’s Possible: Writers on Accessibility and the Avant-Garde. She teaches in the MFA program at New Mexico State University, where she is Associate Department Head. She serves as Prose Editor at Puerto del Sol and Non-Fiction Editor at Drunken Boat.

    He called it Ravensbrück, and during the years that followed thousands of people died there after enduring brutal forms of torture. All were women. There are a handful of studies and memoirs that reference Ravensbrück, but until now no one has written a full account of this atrocity, perhaps due to the mostly masculine narrative of war, or perhaps because it lacks the Jewish context of most mainstream Holocaust history. Ninety percent of Ravensbrück's prisoners were not Jewish. Rather, they were political prisoners, Resistance fighters, lesbians, prostitutes, even the sister of New York's Mayor LaGuardia. In a perverse twist, most of the guards were women themselves. Sarah Helm's groundbreaking work sheds much-needed light on an aspect of World War II that has remained in the shadows for decades. Using research into German and newly opened Russian archives, as well as interviews with survivors, Helm has produced a landmark achievement that weaves together various accounts, allowing us to follow characters on both sides of the prisoner/guard divide. Chilling, compelling, and deeply unsettling, Ravensbrück is essential reading for anyone concerned with Nazi history.

    Inside, storytellers from around the world share times when, in the face of seemingly impossible situations, they found moments of beauty, wonder, and clarity that shed light on their lives and helped them find a path forward.From a fifteen-year-old saving a life in Chicago to a mother of triplets trekking to the North Pole to a ninety-year-old Russian man recalling his standoff with the KGB, these storytellers attest to the variety and richness of the human experience, and the shared threads that connect us all. With honesty and humor, they stare down their fear, embrace uncertainty, and encourage us all to be more authentic, vulnerable, and alive.

    So too is a fat woman, a horny woman, a woman shrieking with laughter. Women who are one or more of these things have heard, or perhaps simply intuited, that we are repugnantly excessive, that we have taken illicit liberties to feel or fuck or eat with abandon. After bellowing like a barn animal in orgasm, hoovering a plate of mashed potatoes, or spraying out spit in the heat of expostulation, we've flinched-ugh, that was so gross. I am so gross. On rare occasions, we might revel in our excess--belting out anthems with our friends over karaoke, perhaps--but in the company of less sympathetic souls, our uncertainty always returns. A woman who is Too Much is a woman who reacts to the world with ardent intensity is a woman familiar to lashes of shame and disapproval, from within as well as without. Written in the tradition of Shrill, Dead Girls, Sex Object and other frank books about the female gaze, TOO MUCH encourages women to reconsider the beauty of their excesses-emotional, physical, and spiritual. Rachel Vorona Cote braids cultural criticism, theory, and storytelling together in her exploration of how culture grinds away our bodies, souls, and sexualities, forcing us into smaller lives than we desire. An erstwhile Victorian scholar, she sees many parallels between that era's fixation on women's "hysterical" behavior and our modern policing of the same; in the space of her writing, you're as likely to encounter Jane Eyre and Lizzie Bennet as you are Britney Spears and Lana Del Rey. This book will tell the story of how women, from then and now, have learned to draw power from their reservoirs of feeling, all that makes us "Too Much."

    prisons are routinely subjected to physical, sexual, and mental abuse. While this has been documented in male prisons, women in prison often suffer in relative anonymity. Women Inside addresses this critical social justice issue, empowering incarcerated and formerly incarcerated women to share the stories that have previously been silenced. Among the narrators:•Irma Rodriguez, in prison on drug charges. While in prison in 1990, Irma was diagnosed HIV positive, but after a decade and a half of aggressive and toxic treatment, Irma learned that she never had HIV.•Sheri Dwight, a domestic violence survivor who was sent to prison for attempting to kill her batterer. While in prison, she underwent surgery for abdominal pain and learned more than four years later that she had been sterilized without her consent.

    Environmental journalist Mark Harris examines this new green burial underground, leading you into natural cemeteries and domestic graveyards, taking you aboard boats from which ashes and memorial "reef balls" are cast into the sea. He follows a family that conducts a home funeral, one that delivers a loved one to the crematory, and another that hires a carpenter to build a pine coffin.In the morbidly fascinating tradition of "Stiff, Grave Matters" details the embalming process and the environmental aftermath of the standard funeral. Harris also traces the history of burial in America, from frontier cemeteries to the billion-dollar business it is today, reporting on real families who opted for more simple, natural returns.For readers who want to follow the examples of these families and, literally, give back from the grave, appendices detail everything you need to know, from exact costs and laws to natural burial providers and their contact information.

    Drawing from the New York Public Library's archives, The Stonewall Reader is a collection of first accounts, diaries, periodic literature, and articles from LGBTQ magazines and newspapers that documented both the years leading up to and the years following the riots. Most importantly the anthology spotlights both iconic activists who were pivotal in the movement, such as Sylvia Rivera, co-founder of Street Transvestites Action Revolutionaries (STAR), as well as forgotten figures like Ernestine Eckstein, one of the few out, African American, lesbian activists in the 1960s. The anthology focuses on the events of 1969, the five years before, and the five years after. Jason Baumann, the NYPL coordinator of humanities and LGBTQ collections, has edited and introduced the volume to coincide with the NYPL exhibition he has curated on the Stonewall uprising and gay liberation movement of 1969.

     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.

    In this remarkable symphony of essays adapted and expanded from his ground-breaking, critically acclaimed podcast, John Green reviews different facets of the human-centered planet - from the QWERTY keyboard and Halley's Comet to Penguins of Madagascar - on a five-star scale.Complex and rich with detail, the Anthropocene's reviews have been praised as 'observations that double as exercises in memoiristic empathy', with over 10 million lifetime downloads. John Green's gift for storytelling shines throughout this artfully curated collection about the shared human experience; it includes beloved essays along with six all-new pieces exclusive to the book.

    Structured around the forty questions Luiselli translates and asks undocumented Latin-American children facing deportation, Tell Me How It Ends (an expansion of her 2016 Freeman's essay of the same name) humanizes these young migrants and highlights the contradiction of the idea of America as a fiction for immigrants with the reality of racism and fear both here and back home."