New Voices Festival 2024!

A genre-bending debut with a fiercely political heart, A Haunting in Hialeah Gardens explores the weight of the devil's bargain, following the lengths one man will go to for the promise of freedom. Hugo Contreras's world in Miami has shrunk. Since his wife died, Hugo's debt from her medical bills has become insurmountable. He shuffles between his efficiency apartment, La Carreta (his favorite place for a cafecito), and a botanica in a strip mall where he works as the resident babaláwo.   One day, Hugo's nemesis calls. Alexi Ramirez is a debt collector who has been hounding Hugo for years, and Hugo assumes this call is just more of the same. Except this time Alexi is calling because he needs spiritual help. His house is haunted. Alexi proposes a deal: If Hugo can successfully cleanse his home before Noche Buena, Alexi will forgive Hugo's debt. Hugo reluctantly accepts, but there's one issue: Despite being a babaláwo, he doesn't believe in spirits.   Hugo plans to do what he's done with dozens of clients before: use sleight of hand and amateur psychology to convince Alexi the spirits have departed. But when the job turns out to be more than Hugo bargained for, Hugo's old tricks don't work. Memories of his past--his childhood in the Bolivian silver mines and a fraught crossing into the United States as a boy--collide with Alexi's demons in an explosive climax.   Equal parts hilarious and heartbreaking, A Haunting in Hialeah Gardens explores questions of visibility, migration, and what we owe--to ourselves, our families, and our histories.

For fans of Helen MacDonald's H is for Hawk and Mary Roach, Erica Berry's WOLFISH blends science, history, and cultural criticism in a years-long journey to understand our myths about wolves, and track one legendary wolf, OR-7, from the Wallowa Mountains of Oregon OREGON BOOK AWARD WINNER * Shortlisted for the 2024 Pacific Northwest Book Award * A Most Anticipated Book of 2023: TIME, Los Angeles Times, Vulture, Salon, Bustle, The Rumpus, Financial Times, Reader's Digest, LitHub, Book Riot, Debutiful, and more! "Exhilarating." --The Washington Post "Wolfish starts with a single wolf and spirals through nuanced investigations of fear, gender, violence, and story. A GORGEOUS achievement." --Blair Braverman, author of Welcome to the Goddamn Ice Cube "This is one of those stories that begins with a female body. Hers was crumpled, roadside, in the ash-colored slush between asphalt and snowbank." So begins Erica Berry's kaleidoscopic exploration of wolves, both real and symbolic. At the center of this lyrical inquiry is the legendary OR-7, who roams away from his familial pack in northeastern Oregon. While charting OR-7's record-breaking journey out of the Wallowa Mountains, Erica simultaneously details her own coming-of-age as she moves away from home and wrestles with inherited beliefs about fear, danger, femininity, and the body. As Erica chronicles her own migration--from crying wolf as a child on her grandfather's sheep farm to accidentally eating mandrake in Sicily--she searches for new expressions for how to be a brave woman, human, and animal in our warming world. What do stories so long told about wolves tell us about our relationship to fear? How can our society peel back the layers of what scares us? By strategically unspooling the strands of our cultural constructions of predator and prey, and what it means to navigate a world in which we can be both, Erica bridges the gap between human fear and grief through the lens of a wrongfully misunderstood species. Wolfish is for anybody trying to navigate a world that is often scary. A powerful, timeless, and necessary book for our current and future generations.

Elisa Gonzalez's thrilling debut makes one "feel as if poems have never before been written" (Louise Glück). Grand Tour, the debut collection of poetry by Elisa Gonzalez, dramatizes the mind in motion as it grapples with something more than an event: she writes of a whole life, to transcendent effect. By the end, we feel we have been witness to a poet remaking herself. Gonzalez's poetry depicts the fullness of living. There are the small moments: "white wine greening in a glass," trumpet blossoms "panicking across the garden." Some poems adopt the oracular quality of a parable but invariably refuse a clear moral. The poet moves through elegy, romantic and sexual encounters, family history, and place--Cyprus, Puerto Rico, Poland, Ohio--all constellated in "a chaos of faraway." The collection is held together less by answers than by a persistent question: How doe you reconcile a hatred for the world's pain with a love for that same world, which is indivisible from its worst aspects? Gonzalez's poems draw us nearer to our own aliveness, its fragility and sustaining questions. "Since I do love the world," she says, she keeps writing, inviting us to accompany her as she searches.

To cope with the absence of her father, neglect of her mother, and ridicule by her classmates, eighth-grader Shelby Hinkley has put all of her time and energy into the only thing that matters in 2004: Spiderman. When leading a devout online fan club proves insufficient to her needs, Shelby decides to risk it all for love, kidnap famous actor Tobey Maguire and marry him in her basement. Her fantasies of happily ever after start to crumble as she realizes Tobey may not be the charismatic, heartthrob actor she thinks she knows. A Y2K farce, I’M GONNA MARRY YOU TOBEY MAGUIRE is a full-throttle explosion of our para-social relationships and the obsessions that detonate them.

Stella Wong's debut book of poems playfully subverts and willfully challenges any notions we might have about Asian Americanness and its niceties. While her previous chapbook stunned her admirers and adherents into an almost fawning incredulity, this outing eviscerates. More like getting struck with Chinese stars right between the eyes. TKO with a mean left hook to boot. And if you manage to get back up on your feet again, if your dare dance around in the haunted ring that American poetry is, be certain that this most un-model minority bard will teach you not to ever read the same way again. Or as Danez Smith has extolled: "Stella Wong wields the kind of weaponry I live to be slayed by. Funny as hell, delightfully strange and full of a sneaky and giant heart, this book will knock the windows of your heart not just open, but out the frame once you see how far Wong can dive into fear and the terrible possibles of humanness can still carry back something like hope, gooder than joy."

This "gorgeous, electric" collection of short stories is about the inner lives of young women during their transformative twenties, navigating relationships, nostalgia for the past, and the uncertainty of the future (Mary-Beth Hughes, author of The Ocean House). With this sharp and witty debut collection, author Kate Doyle captures precisely that time of life when so many young women are caught in between, pre-occupied by nostalgia for past relationships--with friends, roommates, siblings--while trying to move forward into an uncertain future. In "That Is Shocking," a college student relates a darkly funny story of romantic humiliation, one that skirts the parallel story of a friend she betrayed. In others, young women long for friends who have moved away, or moved on. In "Cinnamon Baseball Coyote" and other linked stories about siblings Helen, Evan, and Grace, their years of inside jokes and brutal tensions simmer over as the three spend a holiday season in an amusing whirl of rivalry and mutual attachment, and a generational gulf widens between them and their parents. Throughout, in stories both lyrical and haunting, young women search for ways to break free from the expectations of others and find a way to be in the world.  Written with crystalline prose and sly humor, the stories in I Meant It Once build to complete a profoundly recognizable portrait of early adulthood and the ways in which seemingly incidental moments can come to define the stories we tell ourselves. For fans of Elif Batuman, Ottessa Moshfegh, Patricia Lockwood, and Melissa Bank, these stories about being young and adrift in today's world go down easy and pack a big punch.  

"Jon Swift + Witches of Eastwick + Kelly 'Get In Trouble' Link + Mean Girls + Creative Writing Degree Hell! No punches pulled, no hilarities dodged, no meme unmangled! O Bunny you are sooo genius!" --Margaret Atwood, via Twitter "A wild, audacious and ultimately unforgettable novel." --Michael Schaub, Los Angeles Times  "Awad is a stone-cold genius." --Ann Bauer, The Washington Post The Vegetarian meets Heathers in this darkly funny, seductively strange novel from the acclaimed author of 13 Ways of Looking at a Fat Girl "We were just these innocent girls in the night trying to make something beautiful. We nearly died. We very nearly did, didn't we?" Samantha Heather Mackey couldn't be more of an outsider in her small, highly selective MFA program at New England's Warren University. A scholarship student who prefers the company of her dark imagination to that of most people, she is utterly repelled by the rest of her fiction writing cohort--a clique of unbearably twee rich girls who call each other "Bunny," and seem to move and speak as one. But everything changes when Samantha receives an invitation to the Bunnies' fabled "Smut Salon," and finds herself inexplicably drawn to their front door--ditching her only friend, Ava, in the process. As Samantha plunges deeper and deeper into the Bunnies' sinister yet saccharine world, beginning to take part in the ritualistic off-campus "Workshop" where they conjure their monstrous creations, the edges of reality begin to blur. Soon, her friendships with Ava and the Bunnies will be brought into deadly collision.  The spellbinding new novel from one of our most fearless chroniclers of the female experience, Bunny is a down-the-rabbit-hole tale of loneliness and belonging, friendship and desire, and the fantastic and terrible power of the imagination. Named a Best Book of 2019 by TIME, Vogue, Electric Literature, and The New York Public Library

NEW YORK TIMES BESTSELLER * NATIONAL BOOK AWARD WINNER * The standout literary debut that everyone is talking about * "Inventive, heartbreaking and acutely funny."--The Guardian A BEST BOOK OF THE YEAR: The New York Times, TIME, NPR, Oprah Daily, People Blandine isn't like the other residents of her building. An online obituary writer. A young mother with a dark secret. A woman waging a solo campaign against rodents -- neighbors, separated only by the thin walls of a low-cost housing complex in the once bustling industrial center of Vacca Vale, Indiana. Welcome to the Rabbit Hutch. Ethereally beautiful and formidably intelligent, Blandine shares her apartment with three teenage boys she neither likes nor understands, all, like her, now aged out of the state foster care system that has repeatedly failed them, all searching for meaning in their lives. Set over one sweltering week in July and culminating in a bizarre act of violence that finally changes everything, The Rabbit Hutch is a savagely beautiful and bitingly funny snapshot of contemporary America, a gorgeous and provocative tale of loneliness and longing, entrapment and, ultimately, freedom. "Gunty writes with a keen, sensitive eye about all manner of intimacies―the kind we build with other people, and the kind we cultivate around ourselves and our tenuous, private aspirations."--Raven Leilani, author of Luster

AN NPR BOOK-OF-THE-DAY * A PUBLISHERS WEEKLY STAFF PICK * A NYLON MUST-READ * A FORTUNE NEW BOOK TO READ IN AUGUST "And, at the center of it all, am I actually nice or am I just performing a role I think I'm expected to play" Mia Mercado is a razor-sharp cultural critic and essayist known for her witty and hilarious dissections of the uncomfortable truths that rule our lives. In this thought-provoking collection of new essays, Mercado examines what it means to be "polite," "agreeable," and "nice." She covers topics from the subtleties of the "Bad Bitch" and why women dominate the ASMR market, to what makes her dog an adorable little freak and how you know if you're shy. This is a book about the unspoken trick mirror of our "good" intentions: the inherent performance of the social media apology, celebrating men when they do the bare minimum, and why we trust a Midwesterner to watch our stuff when we go pee. Throughout, she ponders her identity as an Asian woman and asks what "nice" even means--and why anyone would want to be it. With writing that is as precise as it is profound, and cultural references that range from trash reality television to the New York Times Sunday-morning crossword puzzle, Mercado uncovers weird, long-overdue truths about our frailties and failings. In the end, she sees them not as a source of shame but as a cause for celebration. Filled with revelations that range from the silly to the serious, She's Nice Though offers a mind-bending glimpse into the illusions and delusions of contemporary life--and reveals who we *really* are when no one is watching.

"This moving book is both an act of defiance - a way to construct a home outside of borders - and a timely manifesto on the need for more equitable housing policy in America, weaving her scholarship in economic justice together with her firsthand experience of the many places she's lived. "Home Bound" is not just a resonant personal history, but also a thoroughly researched investigation of home." -Rajpreet Heir, The New York Times Book Review "Readers of Home Bound will likely experience that pleasant rush of recognizing something personal in someone else's reality, of answering, yes, home feels like this to me, too." -Chicago Review of Books "Bee's lyrical, emotive prose takes readers through her life with an intimacy that draws and keeps them close. . . . Home Bound will appeal to a variety of reader, challenging singular beliefs of what it means to be a daughter, sister, lover, wife, lawyer, and mother." -Library Journal, starred review In this singular and intimate memoir of identity and discovery, Vanessa A. Bee explores the way we define "home" and "belonging" - from her birth in Yaounde, Cameroon, to her adoption by her aunt and her aunt's white French husband, to experiencing housing insecurity in Europe and her eventual immigration to the US. After her parents' divorce, Vanessa traveled with her mother to Lyon and later to London, eventually settling in Reno, Nevada, as a teenager, right around the financial crisis and the collapse of the housing market. At twenty, still a practicing evangelical Christian and newly married, Vanessa applied to and was accepted by Harvard Law School, where she was one of the youngest members of her class. There, she forged a new belief system, divorced her husband, left the church, and, inspired by her tumultuous childhood, pursued a career in economic justice upon graduation. Vanessa's adoptive, multiracial, multilingual, multinational, and transcontinental upbringing has caused her to grapple for years with foundational questions such as- What is home? Is it the country we're born in, the body we possess, or the name we were given and that identifies us? Is it the house we remember most fondly, the social status assigned to us, or the ideology we forge? What defines us and makes us uniquely who we are? Organized unconventionally around her own dictionary-style definitions of the word "home," Vanessa tackles these timeless questions thematically and unpacks the many layers that contribute to and condition our understanding of ourselves and of our place in the world.

In an era of rising nationalism and geopolitical instability, Megan Fernandes's Good Boys offers a complex portrait of messy feminist rage, negotiations with race and travel, and existential dread in the Anthropocene. The collection follows a restless, nervy, cosmically abandoned speaker failing at the aspirational markers of adulthood as she flips from city to city, from enchantment to disgust, always reemerging--just barely--on the trains and bridges and bar stools of New York City. A child of the Indian Ocean diaspora, Fernandes enacts the humor and devastation of what it means to exist as a body of contradictions. Her interpretations are muddied. Her feminism is accusatory, messy. Her homelands are theoretical and rootless. The poet converses with goats and throws a fit at a tarot reading; she loves the intimacy of strangers during turbulent plane rides and has dark fantasies about the "hydrogen fruit" of nuclear fallout. Ultimately, these poems possess an affection for the doomed: false beloveds, the hounded earth, civilizations intent on their own ruin. Fernandes skillfully interrogates where to put our fury and, more importantly, where to direct our mercy.

By 1979, we knew nearly everything we understand today about climate change--including how to stop it. Over the next decade, a handful of scientists, politicians, and strategists, led by two unlikely heroes, risked their careers in a desperate, escalating campaign to convince the world to act before it was too late. Losing Earth is their story, and ours. The New York Times Magazine devoted an entire issue to Nathaniel Rich's groundbreaking chronicle of that decade, which became an instant journalistic phenomenon--the subject of news coverage, editorials, and conversations all over the world. In its emphasis on the lives of the people who grappled with the great existential threat of our age, it made vivid the moral dimensions of our shared plight. Now expanded into book form, Losing Earth tells the human story of climate change in even richer, more intimate terms. It reveals, in previously unreported detail, the birth of climate denialism and the genesis of the fossil fuel industry's coordinated effort to thwart climate policy through misinformation propaganda and political influence. The book carries the story into the present day, wrestling with the long shadow of our past failures and asking crucial questions about how we make sense of our past, our future, and ourselves. Like John Hersey's Hiroshima and Jonathan Schell's The Fate of the Earth, Losing Earth is the rarest of achievements: a riveting work of dramatic history that articulates a moral framework for understanding how we got here, and how we must go forward.

An "exquisite" (The New York Times Book Review, Editors' Choice) and "wonderfully Parisian" (Leila Slimani, author of The Perfect Nanny) debut novel of intrigue and deception. "Betrayal and desire fuel the story of Margot, the secret daughter of a twenty-year affair between a French politician and a famous actress. . . . A startling, affecting first book by an author who is confident in her craft."--The New York Times Margot Louve has lived her whole life as a secret. The hidden daughter of a long-standing affair, she exists with her mother in the shadows, living in a small Parisian apartment on the Left Bank. It is a house of cards that Margot--fueled by a longing to be seen and heard--decides to tumble. The summer of her seventeenth birthday, she meets a well-regarded journalist who will set her plan in motion. But as Margot is drawn into an adult world she struggles to comprehend, she learns how one impulsive decision can shatter the lives of those around her in ways she could never have imagined. Incisively exposing the seams between private lives and public faces, The Margot Affair is a simmering exploration of desire, transgression, and the dangers of speaking the truth.

A Finalist for the NAACP Image Award A Finalist for the Hurston/Wright Legacy Award for Nonfiction A Finalist for the Thurber Prize for American Humor Longlisted for the PEN/Diamonstein-Spielvogel Award for the Art of the Essay An NPR Best Book of the Year A Washington Independent Review of Books Favorite of the Year From the host of podcast "Stuck with Damon Young," cofounder of VerySmartBrothas.com, and one of the most read writers on race and culture at work today, a provocative and humorous memoir-in-essays that explores the ever-shifting definitions of what it means to be Black (and male) in America For Damon Young, existing while Black is an extreme sport. The act of possessing black skin while searching for space to breathe in America is enough to induce a ceaseless state of angst where questions such as "How should I react here, as a professional black person" and "Will this white person's potato salad kill me" are forever relevant. What Doesn't Kill You Makes You Blacker chronicles Young's efforts to survive while battling and making sense of the various neuroses his country has given him. It's a condition that's sometimes stretched to absurd limits, provoking the angst that made him question if he was any good at the "being straight" thing, as if his sexual orientation was something he could practice and get better at, like a crossover dribble move or knitting; creating the farce where, as a teen, he wished for a white person to call him a racial slur just so he could fight him and have a great story about it; and generating the surreality of watching gentrification transform his Pittsburgh neighborhood from predominantly Black to "Portlandia . . . but with Pierogies."  And, at its most devastating, it provides him reason to believe that his mother would be alive today if she were white. From one of our most respected cultural observers, What Doesn't Kill You Makes You Blacker is a hilarious and honest debut that is both a celebration of the idiosyncrasies and distinctions of Blackness and a critique of white supremacy and how we define masculinity.

"Startlingly original and deeply moving.... Chang here establishes herself as one of the most important of the new generation of American writers."   -- George Saunders A Recommended Book From Buzzfeed * TIME * USA Today * NPR * Vanity Fair * The Washington Post * New York Magazine * O, the Oprah Magazine * Parade * Wired * Electric Literature * The Millions * San Antonio Express-News * Domino * Kirkus A wry, tender portrait of a young woman--finally free to decide her own path, but unsure if she knows herself well enough to choose wisely--from a captivating new literary voice The plan is to leave. As for how, when, to where, and even why--she doesn't know yet. So begins a journey for the twenty-four-year-old narrator of Days of Distraction. As a staff writer at a prestigious tech publication, she reports on the achievements of smug Silicon Valley billionaires and start-up bros while her own request for a raise gets bumped from manager to manager. And when her longtime boyfriend, J, decides to move to a quiet upstate New York town for grad school, she sees an excuse to cut and run. Moving is supposed to be a grand gesture of her commitment to J and a way to reshape her sense of self. But in the process, she finds herself facing misgivings about her role in an interracial relationship. Captivated by the stories of her ancestors and other Asian Americans in history, she must confront a question at the core of her identity: What does it mean to exist in a society that does not notice or understand you? Equal parts tender and humorous, and told in spare but powerful prose, Days of Distraction is an offbeat coming-of-adulthood tale, a touching family story, and a razor-sharp appraisal of our times.

"The literary 'Oscars' features twenty outstanding examples of the best of the best in American short stories." -- Shelf Awareness for Readers The Best American Short Stories 2014 will be selected by national best-selling author Jennifer Egan, who won the 2011 Pulitzer Prize and the National Book Critics Circle Award for fiction for A Visit from the Goon Squad, heralded by Time magazine as "a new classic of American fiction." Egan "possesses a satirist's eye and a romance novelist's heart" (New York Times Book Review).

A NATIONAL BESTSELLER This beloved memoir "is an extraordinary, honest, nuanced and compassionate look at adoption, race in America and families in general" (Jasmine Guillory,Code Switch, NPR) What does it means to lose your roots-within your culture, within your family-and what happens when you find them? Nicole Chung was born severely premature, placed for adoption by her Korean parents, and raised by a white family in a sheltered Oregon town. From childhood, she heard the story of her adoption as a comforting, prepackaged myth. She believed that her biological parents had made the ultimate sacrifice in the hope of giving her a better life, that forever feeling slightly out of place was her fate as a transracial adoptee. But as Nicole grew up-facing prejudice her adoptive family couldn't see, finding her identity as an Asian American and as a writer, becoming ever more curious about where she came from-she wondered if the story she'd been told was the whole truth. With warmth, candor, and startling insight, Nicole Chung tells of her search for the people who gave her up, which coincided with the birth of her own child. All You Can Ever Know is a profound, moving chronicle of surprising connections and the repercussions of unearthing painful family secrets-vital reading for anyone who has ever struggled to figure out where they belong.

Edited by the award-winning, best-selling author Richard Russo, this year's collection boasts a satisfying "chorus of twenty stories that are by turns playful, ironic, somber, and meditative" (Wall Street Journal). With the masterful Russo picking the best of the best, America's oldest and best-selling story anthology is sure to be of "enduring quality" (Chicago Tribune) this year.

A Read with Jenna Today Show Book Club Pick! Finalist for the 2020 National Book Award (Fiction) One of Barack Obama's Summer Favorites A Best Book of the Year From: The Washington Post * Time * NPR * Elle * Esquire * Kirkus * Library Journal * The Chicago Public Library * The New York Public Library * BookPage * The Globe and Mail * EW.com * The LA Times * USA Today * InStyle * The New Yorker * AARP * Publisher's Lunch * LitHub * Book Marks * Electric Literature * Brooklyn Based * The Boston Globe A magnetic novel about two families, strangers to each other, who are forced together on a long weekend gone terribly wrong. From the bestselling author of Rich and Pretty comes a suspenseful and provocative novel keenly attuned to the complexities of parenthood, race, and class. Leave the World Behind explores how our closest bonds are reshaped--and unexpected new ones are forged--in moments of crisis. Amanda and Clay head out to a remote corner of Long Island expecting a vacation: a quiet reprieve from life in New York City, quality time with their teenage son and daughter, and a taste of the good life in the luxurious home they've rented for the week. But a late-night knock on the door breaks the spell. Ruth and G. H. are an older couple--it's their house, and they've arrived in a panic. They bring the news that a sudden blackout has swept the city. But in this rural area--with the TV and internet now down, and no cell phone service--it's hard to know what to believe. Should Amanda and Clay trust this couple--and vice versa? What happened back in New York? Is the vacation home, isolated from civilization, a truly safe place for their families? And are they safe from one other? 

"So delicately calibrated and precisely beautiful that one might not immediately sense the sledgehammer of pain building inside this book. And I mean that in the best way. What powerful tension and depth this provides!"--Aimee Bender Fourteen-year-old Linda lives with her parents in the beautiful, austere woods of northern Minnesota, where their nearly abandoned commune stands as a last vestige of a lost counter-culture world. Isolated at home and an outlander at school, Linda is drawn to the enigmatic, attractive Lily and new history teacher Mr. Grierson. When Mr. Grierson is charged with possessing child pornography, the implications of his arrest deeply affect Linda as she wrestles with her own fledgling desires and craving to belong. And then the young Gardner family moves in across the lake and Linda finds herself welcomed into their home as a babysitter for their little boy, Paul. It seems that her life finally has purpose but with this new sense of belonging she is also drawn into secrets she doesn't understand. Over the course of a few days, Linda makes a set of choices that reverberate throughout her life. As she struggles to find a way out of the sequestered world into which she was born, Linda confronts the life-and-death consequences of the things people do--and fail to do--for the people they love. Winner of the McGinnis-Ritchie award for its first chapter, Emily Fridlund's propulsive and gorgeously written History of Wolves introduces a new writer of enormous range and talent.

Sarah Delappe - The Wolves

Not your typical book of monologues, this collection embodies the mission of The Kilroys, a gang of playwrights and producers who came together in Los Angeles in 2013 to stop talking about gender parity in theatre and start taking action. In 2014, The Kilroys released their first annual List: a vetted collection of plays written by female and trans writers, nominated by hundreds of professional artistic directors, literary managers, professors, producers, directors, and dramaturgs. This collection includes a monologue or scene from each play from the 2014 and 2015 editions of The List. 'And at last there are the Kilroys. A group of kick-ass theatre artists who declare there is no excuse, in the twenty-first century, for producers and artistic directors to insist they cannot find women or women of color in the field. The incredible Kilroys List makes visible proof that there are infinite playworlds of which our current pipelines can only dream. The Kilroys have amassed writers aplenty to fill hundreds of pipelines' Paula Vogel, from her Foreword

NOMINATED FOR AN NAACP IMAGE AWARD * An inspiring collection of essays by black women writers, curated by the founder of the popular book club Well-Read Black Girl, on the importance of recognizing ourselves in literature. "Yes, Well-Read Black Girl is as good as it sounds. . . . [Glory Edim] gathers an all-star cast of contributors--among them Lynn Nottage, Jesmyn Ward, and Gabourey Sidibe."--O: The Oprah Magazine Remember that moment when you first encountered a character who seemed to be written just for you? That feeling of belonging remains with readers the rest of their lives--but not everyone regularly sees themselves in the pages of a book. In this timely anthology, Glory Edim brings together original essays by some of our best black women writers to shine a light on how important it is that we all--regardless of gender, race, religion, or ability--have the opportunity to find ourselves in literature. Contributors include Jesmyn Ward (Sing, Unburied, Sing), Lynn Nottage (Sweat), Jacqueline Woodson (Another Brooklyn), Gabourey Sidibe (This Is Just My Face), Morgan Jerkins (This Will Be My Undoing), Tayari Jones (An American Marriage), Rebecca Walker (Black, White and Jewish), and Barbara Smith (Home Girls: A Black Feminist Anthology) Whether it's learning about the complexities of femalehood from Zora Neale Hurston and Toni Morrison, finding a new type of love in The Color Purple, or using mythology to craft an alternative black future, the subjects of each essay remind us why we turn to books in times of both struggle and relaxation. As she has done with her book club-turned-online community Well-Read Black Girl, in this anthology Glory Edim has created a space in which black women's writing and knowledge and life experiences are lifted up, to be shared with all readers who value the power of a story to help us understand the world and ourselves. Praise for Well-Read Black Girl "Each essay can be read as a dispatch from the vast and wonderfully complex location that is black girlhood and womanhood. . . . They present literary encounters that may at times seem private and ordinary--hours spent in the children's section of a public library or in a college classroom--but are no less monumental in their impact."--The Washington Post "A wonderful collection of essays."--Essence

PULITZER PRIZE FINALIST NATIONAL BOOK AWARD FINALIST A NEW YORK TIMES TOP 10 BOOK OF 2018 LOS ANGELES TIMES BOOK PRIZE WINNER ALA CARNEGIE MEDAL WINNER THE STONEWALL BOOK AWARD WINNER Soon to Be a Major Television Event, optioned by Amy Poehler "A page turner . . . An absorbing and emotionally riveting story about what it's like to live during times of crisis." --The New York Times Book Review   A dazzling novel of friendship and redemption in the face of tragedy and loss set in 1980s Chicago and contemporary Paris In 1985, Yale Tishman, the development director for an art gallery in Chicago, is about to pull off an amazing coup, bringing in an extraordinary collection of 1920s paintings as a gift to the gallery. Yet as his career begins to flourish, the carnage of the AIDS epidemic grows around him. One by one, his friends are dying and after his friend Nico's funeral, the virus circles closer and closer to Yale himself. Soon the only person he has left is Fiona, Nico's little sister. Thirty years later, Fiona is in Paris tracking down her estranged daughter who disappeared into a cult. While staying with an old friend, a famous photographer who documented the Chicago crisis, she finds herself finally grappling with the devastating ways AIDS affected her life and her relationship with her daughter. The two intertwining stories take us through the heartbreak of the eighties and the chaos of the modern world, as both Yale and Fiona struggle to find goodness in the midst of disaster. Named a Best Book of 2018 by The New York Times Book Review, The Washington Post, NPR, San Francisco Chronicle, The Boston Globe, Entertainment Weekly, Buzzfeed, The Seattle Times, Bustle, Newsday, AM New York, BookPage, St. Louis Post-Dispatch, Lit Hub, Publishers Weekly, Kirkus Reviews, New York Public Library and Chicago Public Library 

Heidi Schreck - The Grand Concourse

Not your typical book of monologues, this collection embodies the mission of The Kilroys, a gang of playwrights and producers who came together in Los Angeles in 2013 to stop talking about gender parity in theatre and start taking action. In 2014, The Kilroys released their first annual List: a vetted collection of plays written by female and trans writers, nominated by hundreds of professional artistic directors, literary managers, professors, producers, directors, and dramaturgs. This collection includes a monologue or scene from each play from the 2014 and 2015 editions of The List. 'And at last there are the Kilroys. A group of kick-ass theatre artists who declare there is no excuse, in the twenty-first century, for producers and artistic directors to insist they cannot find women or women of color in the field. The incredible Kilroys List makes visible proof that there are infinite playworlds of which our current pipelines can only dream. The Kilroys have amassed writers aplenty to fill hundreds of pipelines' Paula Vogel, from her Foreword