Ben Lerner0.0 From the award-winning author of 10:04 and Leaving the Atocha Station, a tender and expansive family drama set in the American Midwest at the turn of the century: a tale of adolescence, transgression, and the conditions that have given rise to the trolls and tyrants of the new right.
Adam Gordon is a senior at Topeka High School, class of 1997. His mother, Jane, is a famous feminist author; his father, Jonathan, is an expert at getting "lost boys" to open up. They both work at the Foundation, a well-known psychiatric clinic that has attracted staff and patients from around the world. Adam is a renowned debater and orator, expected to win a national championship before he heads to college. He is an aspiring poet. He is--although it requires a great deal of posturing, weight lifting, and creatine supplements--one of the cool kids, passing himself off as a "real man," ready to fight or (better) freestyle about fighting if it keeps his peers from thinking of him as weak. Adam is also one of the seniors who brings the loner Darren Eberheart--who is, unbeknownst to Adam, his father's patient--into the social scene, with disastrous effects.
Deftly shifting perspectives and time periods, Ben Lerner's The Topeka School is the story of a family's struggles and strengths: Jane's reckoning with the legacy of an abusive father, Jonathan's marital transgressions, the challenge of raising a good son in a culture of toxic masculinity. It is also a riveting prehistory of the present: the collapse of public speech, the trolls and tyrants of the new right, and the ongoing crisis of identity among white men.
Steph Cha4.0 A powerful and taut novel about racial tensions in LA, following two families—one Korean-American, one African-American—grappling with the effects of a decades-old crime
In the wake of the police shooting of a black teenager, Los Angeles is as tense as it’s been since the unrest of the early 1990s. Protests and vigils are being staged all over the city. It’s in this dangerous tinderbox that two families must finally confront their pasts.
Grace Park lives a sheltered existence: living at home with her Korean-immigrant parents, working at the family pharmacy, and trying her best to understand why her sister Miriam hasn’t spoken to their mother in years. The chasm in her family is growing wider by the day and Grace is desperate for reconciliation, and frustrated by the feeling that her sister and parents are shielding her from the true cause of the falling out.
Shawn Matthews is dealing with a fractured family of his own. His sister, Ava, was murdered as a teenager back in 1991, and this new shooting is bringing up painful memories. Plus, his cousin Ray is just released from prison and needs to reconnect with their family after so many years away. While Shawn is trying his best to keep his demons at bay, he’s not sure Ray can do the same.
When another shocking crime hits LA, the Parks and the Matthewses collide in ways they never could have expected. After decades of loss, violence, and injustice, tensions come to a head and force a reckoning that could clear the air or lead to more violence.
Малла Нун0.0 In this stunning and heartrending tale set in a Swaziland boarding school, two girls of different castes bond over a shared copy of Jane Eyre.
Adele Joubert loves being one of the popular girls at Keziah Christian Academy. She knows the upcoming semester at school is going to be great with her best friend Delia at her side. Then Delia dumps her for a new girl with more money, and Adele is forced to share a room with Lottie, the school pariah, who doesn't pray and defies teachers' orders.
But as they share a copy of Jane Eyre, Lottie's gruff exterior and honesty grow on Adele, and Lottie learns to be a little sweeter. Together, they take on bullies and protect each other from the vindictive and prejudiced teachers. Then a boy goes missing on campus and Adele and Lottie must rely on each other to solve the mystery and maybe learn the true meaning of friendship.
Стефани Джонс-Роджерс0.0 A bold and searing investigation into the role of white women in the American slave economy
Bridging women’s history, the history of the South, and African American history, this book makes a bold argument about the role of white women in American slavery. Historian Stephanie E. Jones-Rogers draws on a variety of sources to show that slave-owning women were sophisticated economic actors who directly engaged in and benefited from the South’s slave market. Because women typically inherited more slaves than land, enslaved people were often their primary source of wealth. Not only did white women often refuse to cede ownership of their slaves to their husbands, they employed management techniques that were as effective and brutal as those used by slave-owning men. White women actively participated in the slave market, profited from it, and used it for economic and social empowerment. By examining the economically entangled lives of enslaved people and slave-owning women, Jones-Rogers presents a narrative that forces us to rethink the economics and social conventions of slaveholding America.
Джордж Пэкер0.0 Richard Holbrooke was brilliant, utterly self-absorbed, and possessed of almost inhuman energy and appetites. Admired and detested, he was the force behind the Dayton Accords that ended the Balkan wars, America's greatest diplomatic achievement in the post-Cold War era. His power lay in an utter belief in himself and his idea of a muscular, generous foreign policy. From his days as a young adviser in Vietnam to his last efforts to end the war in Afghanistan, Holbrooke embodied the postwar American impulse to take the lead on the global stage. But his sharp elbows and tireless self-promotion ensured that he never rose to the highest levels in government that he so desperately coveted. His story is thus the story of America during its era of supremacy: its strength, drive, and sense of possibility, as well as its penchant for overreach and heedless self-confidence.
In Our Man, drawn from Holbrooke's diaries and papers, we are given a nonfiction narrative that is both intimate and epic in its revelatory portrait of this extraordinary and deeply flawed man and the elite spheres of society and government he inhabited.
Элеанор Дэвис0.0 The gorgeous and empathetic story of one couple’s search for hope and a peaceful future
Hannah is a thirty-something wife, home-health worker, and antiwar activist. Her husband, Johnny, is a stay-at-home pothead working—or "working"—on building them a house before the winter chill sets in. They're currently living and screwing in the back of a truck, hoping for a pregnancy, which seems like it will never come. Legs in the air, for a better chance at conception, Hannah scans fertility Reddits while Johnny dreams about propagating plants—kale, tomatoes—to ensure they have sufficient sustenance should the end times come, which, given their fragile democracy strained under the weight of a carceral state and the risk of horrible war, doesn’t seem so far off. Helping Hannah in her fight for the future is her best friend Gabby, a queer naturalist she idolizes and who adores her. Helping Johnny build the house is Tyler, an off-the-grid conspiracy theorist driven sick by his own cloudy notions of reality.
Told with tenderness and care in an undefined near future, Eleanor Davis's The Hard Tomorrow blazes unrestrained, as moments of human connection are doused in fear and threats. Her astute projections probe at current anxieties in a cautionary tale that begs the question: What will happen after tomorrow?
Эмили Базелон0.0 A renowned investigative journalist exposes the unchecked power of the prosecutor as a driving force in America's mass incarceration crisis, and also offers a way out.
The American criminal justice system is supposed to be a contest between two equal adversaries, the prosecution and the defense, with judges ensuring a fair fight. But in practice, it is prosecutors who have the upper hand, in a contest that is far from equal. More than anyone else, prosecutors decide who goes free and who goes to prison, and even who lives and who dies. The system wasn't designed for this kind of unchecked power, and in Charged, Emily Bazelon shows that it is an underreported cause of enormous injustice—and the missing piece in the mass incarceration puzzle.
But that's only half the story. Prosecution in America is at a crossroads. The power of prosecutors makes them the actors in the system—the only actors—who can fix what's broken without changing a single law. They can end mass incarceration, protect against coercive plea bargains and convicting the innocent, and tackle racial bias. And because in almost every state we, the people, elect prosecutors, it is within our power to reshape the choices they make. In the last few years, for the first time in American history, a wave of reform-minded prosecutors has taken office in major cities throughout the country. Bazelon follows them, showing the difference they make for people caught in the system and how they are coming together as a new kind of lobby for justice and mercy.
In Charged, Emily Bazelon mounts a major critique of the American criminal justice system—and also offers a way out.
Эмили Бернард0.0 An extraordinary, exquisitely written memoir (of sorts) that looks at race--in a fearless, penetrating, honest, true way--in twelve telltale, connected, deeply personal essays that explore, up-close, the complexities and paradoxes, the haunting memories and ambushing realities of growing up black in the South with a family name inherited from a white man, of getting a PhD from Yale, of marrying a white man from the North, of adopting two babies from Ethiopia, of teaching at a white college and living in America's New England today.
"I am black--and brown, too," writes Emily Bernard. "Brown is the body I was born into. Black is the body of the stories I tell."
The storytelling, and the mystery of Bernard's storytelling, of getting to the truth, begins with a stabbing in a New England college town. Bernard writes how, when she was a graduate student at Yale, she walked into a coffee shop and, along with six other people, was randomly attacked by a stranger with a knife ("I remember making the decision not to let the oddness of this stranger bother me"). "I was not stabbed because I was black," she writes (the attacker was white), "but I have always viewed the violence I survived as a metaphor for the violent encounter that has generally characterized American race relations. There was no connection between us, yet we were suddenly and irreparably bound by a knife, an attachment that cost us both: him, his freedom; me, my wholeness."
Bernard explores how that bizarre act of violence set her free and unleashed the storyteller in her ("The equation of writing and regeneration is fundamental to black American experience").
She writes in Black Is the Body how each of the essays goes beyond a narrative of black innocence and white guilt, how each is anchored in a mystery, and how each sets out to discover a new way of telling the truth as the author has lived it. "Blackness is an art, not a science. It is a paradox: intangible and visceral; a situation and a story. It is the thread that connects these essays, but its significance as an experience emerges randomly, unpredictably . . . Race is the story of my life, and therefore black is the body of this book."
And what most interests Bernard is looking at "blackness at its borders, where it meets whiteness in fear and hope, in anguish and love."
Ilya Kaminsky3.5 Finalist for the National Book Award for Poetry
Finalist for the T. S. Eliot Prize
Finalist for the Forward Prize for Best Collection
Ilya Kaminsky’s astonishing parable in poems asks us, What is silence?
Deaf Republic opens in an occupied country in a time of political unrest. When soldiers breaking up a protest kill a deaf boy, Petya, the gunshot becomes the last thing the citizens hear—they all have gone deaf, and their dissent becomes coordinated by sign language. The story follows the private lives of townspeople encircled by public violence: a newly married couple, Alfonso and Sonya, expecting a child; the brash Momma Galya, instigating the insurgency from her puppet theater; and Galya’s girls, heroically teaching signing by day and by night luring soldiers one by one to their deaths behind the curtain. At once a love story, an elegy, and an urgent plea, Ilya Kaminsky’s long-awaited Deaf Republic confronts our time’s vicious atrocities and our collective silence in the face of them.
