Apple products, indie music, food co-ops, and vintage T-shirts make them weak in the knees. They believe they’re unique, yet somehow they’re all exactly the same, talking about how they “get” Sarah Silverman’s “subversive” comedy and Wes Anderson’s “droll” films. They’re also down with diversity and up on all the best microbrews, breakfast spots, foreign cinema, and authentic sushi. They’re organic, ironic, and do not own TVs. You know who they are: They’re white people. And they’re here, and you’re gonna have to deal. Fortunately, here’s a book that investigates, explains, and offers advice for finding social success with the Caucasian persuasion. So kick back on your IKEA couch and lose yourself in the ultimate guide to the unbearable whiteness of being.

    Through reframing their own coming-of-age story, Ziyad takes readers on a powerful journey of growing up queer and Black in Cleveland, Ohio, and of navigating the equally complex path toward finding their true self in New York City. Exploring childhood, gender, race, and the trust that is built, broken, and repaired through generations, Ziyad investigates what it means to live beyond the limited narratives Black children are given and challenges the irreconcilable binaries that restrict them.Heartwarming and heart-wrenching, radical and reflective, Hari Ziyad’s vital memoir is for the outcast, the unheard, the unborn, and the dead. It offers us a new way to think about survival and the necessary disruption of social norms. It looks back in tenderness as well as justified rage, forces us to address where we are now, and, born out of hope, illuminates the possibilities for the future.

    In prose that is, at once, both clear-eyed and full of acerbic wit, Sanghera shows how our past is everywhere: from how we live to how we think, from the foundation of the NHS to the nature of our racism, from our distrust of intellectuals in public life to the exceptionalism that imbued the campaign for Brexit and the government's early response to the Covid crisis. And yet empire is a subject, weirdly hidden from view.The British Empire ran for centuries and covered vast swathes of the world. It is, as Sanghera reveals, fundamental to understanding Britain. However, even among those who celebrate the empire there seems to be a desire not to look at it too closely - not to include the subject in our school history books, not to emphasize it too much in our favourite museums.At a time of great division, when we are arguing about what it means to be British, Sanghera's book urges us to address this bewildering contradiction. For, it is only by stepping back and seeing where we really come from, that we can begin to understand who we are, and what unites us.

    A former gang member and juvenile delinquent, Rios managed to escape the bleak outcome of many of his friends and earned a PhD at Berkeley and returned to his hometown to study how inner city young Latino and African American boys develop their sense of self in the midst of crime and intense policing. Punished examines the difficult lives of these young men, who now face punitive policies in their schools, communities, and a world where they are constantly policed and stigmatized.Rios followed a group of forty delinquent Black and Latino boys for three years. These boys found themselves in a vicious cycle, caught in a spiral of punishment and incarceration as they were harassed, profiled, watched, and disciplined at young ages, even before they had committed any crimes, eventually leading many of them to fulfill the destiny expected of them. But beyond a fatalistic account of these marginalized young men, Rios finds that the very system that criminalizes them and limits their opportunities, sparks resistance and a raised consciousness that motivates some to transform their lives and become productive citizens. Ultimately, he argues that by understanding the lives of the young men who are criminalized and pipelined through the criminal justice system, we can begin to develop empathic solutions which support these young men in their development and to eliminate the culture of punishment that has become an overbearing part of their everyday lives.

    Bernard Parish, Louisiana, make a fateful decision to ride out Hurricane Katrina on their hand-built fishing boats in a sheltered Civil War–era harbor called Violet Canal.  But when Violet is overrun by killer surges, the Robins must summon all their courage, seamanship, and cunning to save themselves and the scores of others suddenly cast into their care. In this gripping saga, Louisiana native Ken Wells provides a close-up look at the harrowing experiences in the backwaters of New Orleans during and after Katrina. Focusing on the plight of the intrepid Robin family, whose members trace their local roots to before the American Revolution, Wells recounts the landfall of the storm and the tumultuous seventy-two hours afterward, when the Robins’ beloved bayou country lay catastrophically flooded and all but forgotten by outside authorities as the world focused its attention on New Orleans. Wells follows his characters for more than two years as they strive, amid mind-boggling wreckage and governmental fecklessness, to rebuild their shattered lives. This is a story about the deep longing for home and a proud bayou people’s love of the fertile but imperiled low country that has nourished them.

    The persistence of white supremacy and the ubiquity of Black death feeds a national culture of terror and a perpetual undercurrent of mourning.If the gothic narrative is metabolized fear, if the goth aesthetic is romanticized melancholy, what does that look and sound like in Black America?

    Hurtful and dishonest, such representations force African American women to navigate a virtual crooked room that shames them and shapes their experiences as citizens. Many respond by assuming a mantle of strength that may convince others, and even themselves, that they do not need help. But as a result, the unique political issues of black women are often ignored and marginalized.In this groundbreaking book, Melissa V. Harris-Perry uses multiple methods of inquiry, including literary analysis, political theory, focus groups, surveys, and experimental research, to understand more deeply black women's political and emotional responses to pervasive negative race and gender images. Not a traditional political science work concerned with office-seeking, voting, or ideology, Sister Citizen instead explores how African American women understand themselves as citizens and what they expect from political organizing. Harris-Perry shows that the shared struggle to preserve an authentic self and secure recognition as a citizen links together black women in America, from the anonymous survivors of Hurricane Katrina to the current First Lady of the United States.

    Footbinding had by then been outlawed in China, women’s feet “liberated,” but at that young age she desperately wanted the tiny feet her grandmother had–deformed and malodorous as they were. By first examining the root of her own girlhood desire, Wang unleashes a fascinating inquiry into a centuries-old custom.Aching for Beauty combines Wang’s unique perspective and remarkable literary gifts in an award-winning exploration of the history and culture surrounding footbinding. In setting out to demystify this reviled tradition, Wang probes an astonishing range of literary references, addresses the relationship between beauty and pain, and discusses the intense female bonds that footbinding fostered. Her comprehensive examination of the notions of hierarchy, femininity, and fetish bound up in the tradition places footbinding in its proper context in Chinese history and opens a window onto an intriguing culture.

    Black Rage tells of the insidious effects of the heritage of slavery; describes love, marriage, and the family; addresses the sexual myths and fears of blacks and whites; chronicles how the schools fail the black child; examines mental illness among black people and the psychic stresses engendered by discrimination; and, finally, focuses on the miasma of racial hatred that envelops this country, why it exists, and what will surely happen if it is not soon dispelled.

    Between Seventh and Eighth Avenues, 42nd Street was once known for its peep shows, street corner hustlers and movie houses. Over the last two decades the notion of safety-from safe sex and safe neighborhoods, to safe cities and safe relationships-has overcome 42nd Street, giving rise to a Disney store, a children's theater, and large, neon-lit cafes. 42nd Street has, in effect, become a family tourist attraction for visitors from Berlin, Tokyo, Westchester, and New Jersey's suburbs.Samuel R. Delany sees a disappearance not only of the old Times Square, but of the complex social relationships that developed there: the points of contact between people of different classes and races in a public space. In Times Square Red, Times Square Blue, Delany tackles the question of why public restrooms, peepshows, and tree-filled parks are necessary to a city's physical and psychological landscape. He argues that starting in 1985, New York City criminalized peep shows and sex movie houses to clear the way for the rebuilding of Times Square. Delany's critique reveals how Times Square is being renovated behind the scrim of public safety while the stage is occupied by gentrification. Times Square Red, Times Square Blue paints a portrait of a society dismantling the institutions that promote communication between classes, and disguising its fears of cross-class contact as family values. Unless we overcome our fears and claim our community of contact, it is a picture that will be replayed in cities across America.

     She’s Britney Spears shaving her head, Whitney Houston saying, “crack is whack,” and Amy Winehouse, dying in front of millions. But the trainwreck is also as old (and as meaningful) as feminism itself. From Mary Wollstonecraft—who, for decades after her death, was more famous for her illegitimate child and suicide attempts than for A Vindication of the Rights of Woman—to Charlotte Brontë, Billie Holiday, Sylvia Plath, and even Hillary Clinton, Sady Doyle’s Trainwreck dissects a centuries-old phenomenon and asks what it means now, in a time when we have unprecedented access to celebrities and civilians alike, and when women are pushing harder than ever against the boundaries of what it means to “behave.” Where did these women come from? What are their crimes? And what does it mean for the rest of us? For an age when any form of self-expression can be the one that ends you, Sady Doyle’s book is as fierce and intelligent as it is funny and compassionate—an essential, timely, feminist anatomy of the female trainwreck.

    Our culture once rewarded independence; now it rewards victimhood. Parents once taught their kids how to fend for themselves; now, any parent who tries may get a visit from the police.In Not a Day Care, Dr. Everett Piper, president of Oklahoma Wesleyan University and author of the viral essay, "This Is Not a Day Care. It's a University!," takes a hard look at what's happening around the country--including the demand for "safe spaces" and trigger warnings at universities like Yale, Brandeis, and Oberlin--and digs in his heels against the sad and dangerous infantilization of the American spirit.

    With ruthless honesty and deadpan humor, the author observes the effect of weed upon every aspect of her life: marriage, motherhood, friendship, work, sport, sex. Phillip Lopate, Nonfiction Director of Columbia University's MFA Writing Program, lauds JUST SAY YES: "This funny, wry and very candid memoir purports to be a Confession of an American Pot-Smoker but is really a cultural/personal history of the past fifty years. The narrative progresses backward and not only the past but innocence itself is recaptured." John Updike wrote about Hiller's short story collection, SKIN, this is "good, brave and joyful writing." For more reviews of JUST SAY YES, please see the Kindle page and www.marijuanamemoir.com.

    Reginald Dwayne Betts confronts the funk of postincarceration existence and examines prison not as a static space, but as a force that enacts pressure throughout a person’s life.The poems move between traditional and newfound forms with power and agility—from revolutionary found poems created by redacting court documents to the astonishing crown of sonnets that serves as the volume’s radiant conclusion. Drawing inspiration from lawsuits filed on behalf of the incarcerated, the redaction poems focus on the ways we exploit and erase the poor and imprisoned from public consciousness. Traditionally, redaction erases what is top secret; in Felon, Betts redacts what is superfluous, bringing into focus the profound failures of the criminal justice system and the inadequacy of the labels it generates.Challenging the complexities of language, Betts animates what it means to be a "felon."

    Unspeakable Things is a book that is eye-opening not only in the critique it provides, but also in the revolutionary alternatives it imagines.