Bree can’t wait for her first day at her new middle school, Enith Brigitha, home to the Mighty Manatees—until she’s stuck with the only elective that fits her schedule, the dreaded Swim 101.
From the publisher:
Bree can’t wait for her first day at her new middle school, Enith Brigitha, home to the Mighty Manatees—until she’s stuck with the only elective that fits her schedule, the dreaded Swim 101. The thought of swimming makes Bree more than a little queasy, yet she’s forced to dive headfirst into one of her greatest fears. Lucky for her, Etta, an elderly occupant of her apartment building and former swim team captain, is willing to help.
With Etta’s training and a lot of hard work, Bree suddenly finds her swim-crazed community counting on her to turn the school’s failing team around. But that’s easier said than done, especially when their rival, the prestigious Holyoke Prep, has everything they need to leave the Mighty Manatees in their wake.
Can Bree defy the odds and guide her team to a state championship, or have the Manatees swum their last lap—for good?
One spring morning, Kathryn Schulz went to lunch with a stranger and fell in love. Having spent years looking for the right relationship, she was dazzled by how swiftly everything changed when she finally met her future wife.
From the publisher:
One spring morning, Kathryn Schulz went to lunch with a stranger and fell in love. Having spent years looking for the right relationship, she was dazzled by how swiftly everything changed when she finally met her future wife. But as the two of them began building a life together, Schulz’s beloved father—a charming, brilliant, absentminded Jewish refugee—went into the hospital with a minor heart condition and never came out. Newly in love yet also newly bereft, Schulz was left contending simultaneously with wild joy and terrible grief.
Those twin experiences form the heart of Lost & Found, a profound meditation on the families that make us and the families we make. But Schulz’s book also explores how disappearance and discovery shape us all. On average, we each lose two hundred thousand objects over our lifetime, and Schulz brilliantly illuminates the relationship between those everyday losses and our most devastating ones. Likewise, she explores the importance of seeking, whether for ancient ruins or new ideas, friends, faith, meaning, or love. The resulting book is part memoir, part guidebook to sustaining wonder and gratitude even in the face of loss and grief. A staff writer at The New Yorker and winner of the Pulitzer Prize, Schulz writes with curiosity, tenderness, and humor about the connections between joy and sorrow—and between us all.
How does time shape consciousness and consciousness, time? Do we live in time, or does time live in us? And how does music, with its patterns of rhythm and harmony, inform our experience of time?
From the publisher:
How does time shape consciousness and consciousness, time? Do we live in time, or does time live in us? And how does music, with its patterns of rhythm and harmony, inform our experience of time?
Uncommon Measure explores these questions from the perspective of a young Korean American who dedicated herself to perfecting her art until performance anxiety forced her to give up the dream of becoming a concert solo violinist. Anchoring her story in illuminating research in neuroscience and quantum physics, Hodges traces her own passage through difficult family dynamics, prejudice, and enormous personal expectations to come to terms with the meaning of a life reimagined—one still shaped by classical music but moving toward the freedom of improvisation.
“Rebel historian” Kelly Lytle Hernández reframes our understanding of U.S. history in this groundbreaking narrative of revolution in the borderlands.
From the publisher:
“Rebel historian” Kelly Lytle Hernández reframes our understanding of U.S. history in this groundbreaking narrative of revolution in the borderlands.
Bad Mexicans tells the dramatic story of the magonistas, the migrant rebels who sparked the 1910 Mexican Revolution from the United States. Led by a brilliant but ill-tempered radical named Ricardo Flores Magón, the magonistas were a motley band of journalists, miners, migrant workers, and more, who organized thousands of Mexican workers—and American dissidents—to their cause. Determined to oust Mexico’s dictator, Porfirio Díaz, who encouraged the plunder of his country by U.S. imperialists such as Guggenheim and Rockefeller, the rebels had to outrun and outsmart the swarm of U. S. authorities vested in protecting the Diaz regime. The U.S. Departments of War, State, Treasury, and Justice as well as police, sheriffs, and spies, hunted the magonistas across the country. Capturing Ricardo Flores Magón was one of the FBI’s first cases.
But the magonistas persevered. They lived in hiding, wrote in secret code, and launched armed raids into Mexico until they ignited the world’s first social revolution of the twentieth century.
Taking readers to the frontlines of the magonista uprising and the counterinsurgency campaign that failed to stop them, Kelly Lytle Hernández puts the magonista revolt at the heart of U.S. history. Long ignored by textbooks, the magonistas threatened to undo the rise of Anglo-American power, on both sides of the border, and inspired a revolution that gave birth to the Mexican-American population, making the magonistas’ story integral to modern American life.
An enthralling and ground-breaking new biography of one of modern America’s most fascinating and consequential political figures, drawing on important new sources, by an award-winning biographer who covered Kennedy closely for many years.
From the publisher:
An enthralling and ground-breaking new biography of one of modern America’s most fascinating and consequential political figures, drawing on important new sources, by an award-winning biographer who covered Kennedy closely for many years.
John A. Farrell’s magnificent biography of Edward M. Kennedy is the first single-volume life of the great figure since his death. Farrell’s long acquaintance with the Kennedy universe and the acclaim accorded his previous books—including his New York Times bestselling biography of Richard Nixon, a finalist for the Pulitzer Prize—helped garner him access to a remarkable range of new sources, including segments of Kennedy’s personal diary and his private confessions to members of his family in the days that followed the accident on Chappaquiddick. Farrell is, without question, one of America’s greatest political biographers and a storyteller of deep wisdom and empathy. His book does full justice to this famously epic and turbulent life of almost unimaginable tragedy and triumph.
As the fourth son of the close-knit but fiercely competitive Kennedy clan, Ted was the runt of the litter. Expelled from Harvard University for cheating, he was a fun-loving playboy who nevertheless served his brothers loyally and effectively. It was easy to take Ted lightly, and many did. But when he was elected to the United States Senate at the age of thirty to fill his brother Jack’s seat, something unexpected happened: he found his home and his calling there. Over time, Ted Kennedy would build arguably the most significant senatorial career in American history.
His life was buffeted by heartbreak: the violent deaths of his three older brothers, his own terrible plane crash, his children’s bouts with cancer, and the hideous self-inflicted wounds of Chappaquiddick and stretches of drinking and womanizing that caused irreparable damage to an already fragile first marriage. Those wounds scarred Ted deeply but also tempered his character, and, eventually, he embarked on a run as legislator, party elder, and paterfamilias of the Kennedy family that would change America for the better. John A. Farrell brings us the man as he was, in strength and weakness, his profound but complicated inheritance and his vital legacy, as only a great biographer can do. Without the story this book tells, no understanding of modern America can be complete.
Called a “chronicler of a world on the move” by The New York Review of Books, Anna Badkhen seeks what separates and binds us at a time when one in seven people has left their birthplace, while a pandemic dictates the direst season of rupture in humankind’s remembering.
From the publisher:
Called a “chronicler of a world on the move” by The New York Review of Books, Anna Badkhen seeks what separates and binds us at a time when one in seven people has left their birthplace, while a pandemic dictates the direst season of rupture in humankind’s remembering. Her new essay collection, Bright Unbearable Reality, addresses the human condition in the era of such unprecedented dislocation, contemplates the roles of memory and wonder in how we relate to one another, and asks how we can soberly and responsibly counter despair and continue to develop—or at least imagine—an emotional vocabulary against depravity.
Bright Unbearable Reality contains eleven essays set on four continents and united by a common thread of communion and longing. In “The Pandemic, Our Common Story,” which takes place in the Great Rift Valley of Ethiopia, one of the locations where humankind originated, the onset of the global pandemic catches Badkhen mid-journey, researching human dispersal 160,000 years ago and migration in modern times. In “How to Read the Air,” set mostly in Philadelphia, Badkhen looks to the ancient Greeks for help pondering our need for certainty at a time of racist violence, political upheaval, and environmental cataclysm. “Ways of Seeing” and the title essay “Bright Unbearable Reality” wrestle with complications of distance and specifically the bird’s eye view—the relationship between physical distance, understanding, and engagement. “Landscape with Icarus” examines how and why children go missing, while “Dark Matter” explores how violence always takes us by surprise. The subject throughout the collection is bright unbearable reality itself, a translation of Greek enargeia, which, says the poet Alice Oswald, is “when gods come to earth not in disguise but as themselves.”
Shelley Wong’s debut,
As She Appears, foregrounds queer women of color in their being and becoming. Following the end of a relationship that was marked by silence, a woman crosses over and embodies the expanse of desire and self-love.
From the publisher:
Shelley Wong’s debut, As She Appears, foregrounds queer women of color in their being and becoming. Following the end of a relationship that was marked by silence, a woman crosses over and embodies the expanse of desire and self-love. Other speakers transform the natural world and themselves, using art and beauty as a means of sanctuary and subversion. With both praise and precision, Wong considers how women inhabit and remake their environment. The ecstatic joys of Pride dances and late-night Chinatown meals, conversations with Frida Kahlo, trees that “burst into glamour,” and layers of memory permeate these poems as they travel through suburban California, perfumed fashion runways, to a Fire Island summer. Wong writes in the space where so many do not appear as an invitation for queer women of color to arrive in love, exactly as they are.
Quincy Troupe writes poetry in great waves. The words are just notes. It’s the music you make with them that matters. He’s not a wordsmith, he’s a shaman conjuring long repetitive lines, cadences of looking across the sea towards Africa and haunted by the legacy of slavery and racism, or of remembering fellow conjurers, poets and musical artists, celebrating, always celebrating, but never only that.
From the publisher:
Quincy Troupe writes poetry in great waves. The words are just notes. It’s the music you make with them that matters. He’s not a wordsmith, he’s a shaman conjuring long repetitive lines, cadences of looking across the sea towards Africa and haunted by the legacy of slavery and racism, or of remembering fellow conjurers, poets and musical artists, celebrating, always celebrating, but never only that.
In the fifty-page, incantatory poem, “Ghost Voices,” there is a longing to be reconnected to the past, and a longing too to be free of it. In the short title poem, “Duende: For García Lorca and Miles Davis,” there lies, nakedly, Troupe’s credo: “…secrets, mystery infused in black magic / that enters bodies in forms of music, art/ poetry imbuing language with sovereignty / in blood spooling back through violent centuries…” The version of the great poem “Avalanche (number 3)” that appears here is different from the version of the same poem he published nearly 25 years ago–in exactly the same way that a jazz artist picks up his horn to play the same song a little differently every time.
Troupe is a generous and gregarious poet in this giant offering that includes many new poems, as well as a selection chosen from across his eleven previously published volumes. What’s remarkable is the constancy, the energy, and how he’s always looking right at you in the here and now, and at the same time sees something over your shoulder that others don’t see yet, maybe a distant storm gathering over the waters, something we’re going to need to rise up and face soon enough.
Winner of the Sillerman First Book Prize for African Poets, Sherry Shenoda’s collection
Mummy Eaters follows in the footsteps of an imagined ancestor, one of the daughters of the house of Akhenaten in the Eighteenth Dynasty, Egypt.
From the publisher:
Winner of the Sillerman First Book Prize for African Poets, Sherry Shenoda’s collection Mummy Eaters follows in the footsteps of an imagined ancestor, one of the daughters of the house of Akhenaten in the Eighteenth Dynasty, Egypt. Shenoda forges an imagined path through her ancestor’s mummification and journey to the afterlife. Parallel to this exploration run the implications of colonialism on her passage.
The mythology of the ancient Egyptians was oriented toward resurrection through the preservation of the human body in mummification. Shenoda juxtaposes this reverence for the human body as sacred matter and a pathway to eternal life with the sixteenth- and seventeenth-century European fascination with ingesting Egyptian human remains as medicine and using exhumed Egyptian mummies as paper, paint, and fertilizer. Today Egyptian human remains are displayed in museums. Much of Mummy Eaters is written as a call and response, in the Coptic tradition, between the imagined ancestor and the author as descendant.