Coates exhorts readers, including students, parents, educators, and journalists, to challenge conventional narratives that can be used to justify ethnic cleansing or camouflage racist policing. Brilliant and timely.--Booklist (starred review)

FINALIST FOR THE LOS ANGELES TIMES BOOK PRIZE - A BEST BOOK OF THE YEAR: The New York Times Book Review, NPR, Vanity Fair, Town & Country, Electric Lit

Ta-Nehisi Coates originally set out to write a book about writing, in the tradition of Orwell's classic Politics and the English Language, but found himself grappling with deeper questions about how our stories--our reporting and imaginative narratives and mythmaking--expose and distort our realities.

In the first of the book's three intertwining essays, Coates, on his first trip to Africa, finds himself in two places at once: in Dakar, a modern city in Senegal, and in a mythic kingdom in his mind. Then he takes readers along with him to Columbia, South Carolina, where he reports on his own book's banning, but also explores the larger backlash to the nation's recent reckoning with history and the deeply rooted American mythology so visible in that city--a capital of the Confederacy with statues of segregationists looming over its public squares. Finally, in the book's longest section, Coates travels to Palestine, where he sees with devastating clarity how easily we are misled by nationalist narratives, and the tragedy that lies in the clash between the stories we tell and the reality of life on the ground.

Written at a dramatic moment in American and global life, this work from one of the country's most important writers is about the urgent need to untangle ourselves from the destructive myths that shape our world--and our own souls--and embrace the liberating power of even the most difficult truths.

In a series of deeply personal essays, Mester explores how the things we buy, eat, amass, and discard become an intimate part of our lives. We guiltily watch Amazon boxes pile up on the porch, wade through endless reviews to find the perfect product, and crave the comforting indulgence of a chain restaurant. With humor and sharp intellect, Mester reflects on the joys and anxieties of Costco trips, how a seasonal stint at Ulta Beauty taught her the insidious art of the sale, and what it means to get mall sad. In a nuanced examination of diet culture and fatness, Mester recounts her teenage summer at fat camp and the unexpected liberation she finds there. Finally, she ventures to Storm Lake, Iowa, to reckon with her grandmother's abandoned hoard, excavating the dysfunction that lies at the heart of her family's obsession with stuff. American Bulk introduces readers to a striking new literary talent from the American heartland, one who dares to ask us to regard consumption not with guilt but with grace and empathy.

Coates exhorts readers, including students, parents, educators, and journalists, to challenge conventional narratives that can be used to justify ethnic cleansing or camouflage racist policing. Brilliant and timely.--Booklist (starred review)

FINALIST FOR THE LOS ANGELES TIMES BOOK PRIZE - A BEST BOOK OF THE YEAR: The New York Times Book Review, NPR, Vanity Fair, Town & Country, Electric Lit

Ta-Nehisi Coates originally set out to write a book about writing, in the tradition of Orwell's classic Politics and the English Language, but found himself grappling with deeper questions about how our stories--our reporting and imaginative narratives and mythmaking--expose and distort our realities.

In the first of the book's three intertwining essays, Coates, on his first trip to Africa, finds himself in two places at once: in Dakar, a modern city in Senegal, and in a mythic kingdom in his mind. Then he takes readers along with him to Columbia, South Carolina, where he reports on his own book's banning, but also explores the larger backlash to the nation's recent reckoning with history and the deeply rooted American mythology so visible in that city--a capital of the Confederacy with statues of segregationists looming over its public squares. Finally, in the book's longest section, Coates travels to Palestine, where he sees with devastating clarity how easily we are misled by nationalist narratives, and the tragedy that lies in the clash between the stories we tell and the reality of life on the ground.

Written at a dramatic moment in American and global life, this work from one of the country's most important writers is about the urgent need to untangle ourselves from the destructive myths that shape our world--and our own souls--and embrace the liberating power of even the most difficult truths.

TENTH ANNIVERSARY LIMITED COLLECTOR'S EDITION

Roxane Gay's New York Times bestselling debut collection of essays spanning politics, criticism, and feminism--a modern classic from one of the most prominent voices of her generation--is now available in a beautifully designed Tenth anniversary limited edition, with a stunning foil cover and hot pink sprayed edges, the perfect collector's edition for her fans

Pink is my favorite color. I used to say my favorite color was black to be cool, but it is pink--all shades of pink. If I have an accessory, it is probably pink. I read Vogue, and I'm not doing it ironically, though it might seem that way. I once live-tweeted the September issue.

In these funny and insightful essays, Gay takes us through the journey of her evolution as a woman (Sweet Valley High) of color (The Help) while also taking readers on a ride through culture of the last few years (Girls, Django in Chains) and commenting on the state of feminism today (abortion, Chris Brown). The portrait that emerges is not only one of an incredibly insightful woman continually growing to understand herself and our society, but also one of our culture.

Roxane Gay's groundbreaking Bad Feminist is a sharp, funny, and spot-on look at the ways in which the culture we consume becomes who we are, and an inspiring call-to-arms of all the ways we still need to do better, from a writer whose mark on our culture continues to be made.

Roxane Gay is so great at weaving the intimate and personal with what is most bewildering and upsetting at this moment in culture. She is always looking, always thinking, always passionate, always careful, always right there. -- Sheila Heti, author of How Should a Person Be?

A New York Times Bestseller

Best Book of the Year: NPR - Boston Globe - Newsweek - Time Out New York - Oprah.com - Miami Herald - Book Riot - Buzz Feed - Globe and Mail (Toronto) - The Root - Shelf Awareness

A collection of essays spanning politics, criticism, and feminism from one of the most-watched cultural observers of her generation

In these funny and insightful essays, Gay takes us through the journey of her evolution as a woman (Sweet Valley High) of color (The Help) while also taking readers on a ride through culture of the last few years (Girls, Django in Chains) and commenting on the state of feminism today (abortion, Chris Brown). The portrait that emerges is not only one of an incredibly insightful woman continually growing to understand herself and our society, but also one of our culture.

Bad Feminist is a sharp, funny, and spot-on look at the ways in which the culture we consume becomes who we are, and an inspiring call-to-arms of all the ways we still need to do better, coming from one of our most interesting and important cultural critics.

FINALIST FOR THE 2019 NATIONAL BOOK AWARD

Named a notable book of 2019 by the New York Times Book Review, Chicago Tribune, Time, and The Guardian

As featured by The Daily Show, NPR, PBS, CBC, Time, VIBE, Entertainment Weekly, Well-Read Black Girl, and Chris Hayes, incisive, witty, and provocative essays (Publishers Weekly) by one of the most bracing thinkers on race, gender, and capitalism of our time (Rebecca Traister)

Thick is sure to become a classic. --The New York Times Book Review

In eight highly praised treatises on beauty, media, money, and more, Tressie McMillan Cottom--award-winning professor and acclaimed author of Lower Ed--is unapologetically thick deemed thick where I should have been thin, more where I should have been less, McMillan Cottom refuses to shy away from blending the personal with the political, from bringing her full self and voice to the fore of her analytical work. Thick transforms narrative moments into analyses of whiteness, black misogyny, and status-signaling as means of survival for black women (Los Angeles Review of Books) with writing that is as deft as it is amusing (Darnell L. Moore).

This transgressive, provocative, and brilliant (Roxane Gay) collection cements McMillan Cottom's position as a public thinker capable of shedding new light on what the personal essay can do. She turns her chosen form into a showcase for her critical dexterity, investigating everything from Saturday Night Live, LinkedIn, and BBQ Becky to sexual violence, infant mortality, and Trump rallies.

Collected in an indispensable volume that speaks to the everywoman and the erudite alike, these unforgettable essays never fail to be painfully honest and gloriously affirming and hold a mirror to your soul and to that of America (Dorothy Roberts).

Available for the first time in a stand-alone edition, Nothing Personal is Baldwin's deep probe into the American condition. Considering the Black Lives Matter protests in the summer of 2020--which were met with tear gas and rubber bullets the same year white supremacists entered the US Capitol with little resistance, openly toting flags of the Confederacy--Baldwin's documentation of his own troubled times cuts to the core of where we find ourselves today.

Baldwin's thoughts move through an interconnected range of questions, from America's fixation on eternal youth, to its refusal to recognize the past, its addiction to consumerism, and the lovelessness that fuels it in its cities and popular culture. He recounts his own encounter with police in a scene disturbingly similar to those we see today documented with ever increasing immediacy. This edition also includes a new foreword from interdisciplinary scholar Imani Perry and an afterword from noted Baldwin scholar Eddie S. Glaude Jr. Both explore and situate the essay within the broader context of Baldwin's work, the Movement for Black Lives, the COVID-19 pandemic, and the presidency of Donald Trump.

Nothing Personal is both a eulogy and a declaration of will. In bringing this work into the twenty-first century, readers new and old will take away fundamental and recurring truths about life in the US. It is both a call to action, and an appeal to love and to life.

With humor and candor, Die Hot With a Vengeance shows why beauty should be a tool of self-expression, not self-hate. - TIME

*ONE OF BUSTLE'S MOST ANTICIPATED SUMMER READS*

Journalist and former Allure editor Sable Yong debuts with a sharp-toothed and hilarious essay collection about beauty and vanity, examining their stigmatization in the cultural zeitgeist, and how to shift the focus to use both for powerful tools for self-exploration, interpersonal connection, and cultural change.

The beauty industry has a single mandate: be hot.

In the same week that you might be encouraged to try curtain bangs, contouring, bleached eyebrows, laser facials, buccal fat removal, fillers, and non-invasive facelifts, you're simultaneously absorbing mantras about self-care, body positivity, empowerment, and loving yourself just as you are.

Overwhelmed yet?

Fear not. Die Hot with a Vengeance delves into the machinations of this multi-billion-dollar industry, offering readers an expert analysis of its inner workings with the precision of a scalpel and the humor of a stand-up comedian. Along the way, Yong sets off to answer some of the biggest questions of our time:

How do you break through the noise of beauty and wellness culture's endless optimization protocols?How can you find actual authenticity in a world of performative artifice?Can the antidote to aging be found in a jar, tube, or at the end of a syringe?Do blondes really have more fun?

Using Yong's many years of experience as a beauty editor to unlock the industry's myriad secrets, Die Hot with a Vengeance gives beauty and vanity a neutralizing make-over. At its best, beauty is so much more than an aesthetic; it's an inspirational mindset. It's a playfulness inherent to the practice of self-expression.

And yet it's difficult to engage playfully when it feels like beauty is an ever-moving target. We're all subject to societal expectations surrounding beauty and vanity, enough so that breaking through the capitalist pressures can feel impossible. Yong argues that while the mandate may be for us to be hot, the beauty industry thrives on us absorbing its teachings so it can keep us in a constant feedback loop of appearance-based anxiety, forever perpetuating unattainable standards. Flipping that imperative, Yong's debut collection poses the most important question of all: How do you discover your value of beauty so you can free yourself from the loud and bullshitty noise of all these entities telling you that you're not good enough?

Digging deep into our most pervasive and questionable beauty trends and conventions, Die Hot with a Vengeance offers an incisive yet wry dissection of one of our most enduring cultural addictions. Irreverent, side-splittingly funny, and astute, the book is as amusing as it is insightful, an instant classic for beauty-readers and aspirant hotties alike.

For readers of Kiese Laymon's Heavy and Hanif Abdurraqib's A Little Devil in America, a beautiful, painful, and soaring tribute to everything that Black men are and can be

Growing up in the Bronx, Joél Leon was taught that being soft, being vulnerable, could end your life. Shaped by a singular view of Black masculinity espoused by the media, family and friends, and society, he learned instead to care about the gold around his neck and the number of bills in his wallet. He absorbed the facts that white was always right and that Black men were either threatening or great for comic relief but never worthy of the opening credits. It wasn't until years later that Joél understood he didn't have to be defined by these and other stereotypes.

Now, in a collection of wide-ranging essays, he takes readers from his upbringing in the Bronx to his life raising two little girls of his own, unraveling those narratives to arrive at a deeper understanding of who he is as a son, friend, partner, and father. Traversing both the serious and the lighthearted, from contemplating male beauty standards to his decision to seek therapy to the difficulties of making co-parenting work, Joél cracks open his heart to reveal his multitudes.

In this book crafted like an album, each essay is a single that stands alone yet reverberates throughout the entire collection. Pieces like How to Make a Black Friend consider challenging, delightful, and absurd moments in relationships, while others like Sensitive Thugs You All Need Hugs and All Gold Everything ponder the collective harms of society's lens.

With incisive, searing prose, Everything and Nothing at Once deconstructs what it means to be a Black man in America.

In Against the Machine, Kingsnorth recounts how the Machine, a combination of technological, political, economic, and spiritual forces, is destroying the life support systems of the Earth itself. He examines the Machine's way of homogenising the mosaic of human cultures and using humans as fodder in a techno-industrial juggernaut. Most importantly, he identifies how this progress and its ideologies put humanity in a headlong plunge towards what looks to be a glorified nihilism disguised as freedom.

In the age of the Machine, it takes effort to remain truly human. Drawing on deep readings of philosophers, poets, and mystics like Ivan Illich, Wendell Berry, and Simone Weil, Kingsnorth reminds us what humanity requires: a healthy suspicion of entrenched power; connection to land, nature and heritage; a deep attention to matters of the spirit; heterodox tolerance, freedom of expression and an appreciation of beauty. Against the Machine is the spiritual manual for Kingsnorth's fellow madmen.

In this groundbreaking classic essay collection, Alice Walker speaks out as a Black woman, writer, mother, and feminist on topics ranging from the personal to the political.

This edition includes a new Letter to the Reader by Alice Walker.

Originally published forty years ago, Alice Walker's first collection of nonfiction is a dazzling compendium that remains both timely and relevant. In these thirty-six essays, Walker contemplates her own work and that of other writers, considers the civil rights movement of the 1960s and the anti-nuclear movement of the 1980s, and writes vividly and courageously about a scarring childhood injury. Throughout, Walker explores the theories and practices of feminism, incorporating what she calls the womanist tradition of black women--insights that are vital to understanding our lives and society today.

When I graduated from college, my father gave me Alice Walker's In Search of Our Mothers' Gardens. It was a beaten-up paperback in 1999, and it's even more battered now. --Jesmyn Ward

• Chigozie Obioma unpacks an Igbo proverb that helped him navigate his journey to America from Nigeria.
• Jenny Zhang analyzes cultural appropriation in 90s fashion, recalling her own pain and confusion as a teenager trying to fit in.
• Fatimah Asghar describes the flood of memory and emotion triggered by an encounter with an Uber driver from Kashmir.
• Alexander Chee writes of a visit to Korea that changed his relationship to his heritage.

Team Human is a manifesto--a fiery distillation of preeminent digital theorist Douglas Rushkoff's most urgent thoughts on civilization and human nature. In one hundred lean and incisive statements, he argues that we are essentially social creatures, and that we achieve our greatest aspirations when we work together--not as individuals. Yet today society is threatened by a vast antihuman infrastructure that undermines our ability to connect. Money, once a means of exchange, is now a means of exploitation; education, conceived as way to elevate the working class, has become another assembly line; and the internet has only further divided us into increasingly atomized and radicalized groups.

Team Human delivers a call to arms. If we are to resist and survive these destructive forces, we must recognize that being human is a team sport. In Rushkoff's own words: Being social may be the whole point. Harnessing wide-ranging research on human evolution, biology, and psychology, Rushkoff shows that when we work together we realize greater happiness, productivity, and peace. If we can find the others who understand this fundamental truth and reassert our humanity--together--we can make the world a better place to be human.

NAMED ONE OF THE TEN BEST BOOKS OF THE YEAR BY CHICAGO TRIBUNE AND THE DALLAS MORNING NEWS - A deft blend of nostalgia, humor and devastating insights.--People

Remember all those ingrained habits, cherished ideas, beloved objects, and stubborn preferences from the pre-Internet age? They're gone.

To some of those things we can say good riddance. But many we miss terribly. Whatever our emotional response to this departed realm, we are faced with the fact that nearly every aspect of modern life now takes place in filtered, isolated corners of cyberspace--a space that has slowly subsumed our physical habitats, replacing or transforming the office, our local library, a favorite bar, the movie theater, and the coffee shop where people met one another's gaze from across the room. Even as we've gained the ability to gather without leaving our house, many of the fundamentally human experiences that have sustained us have disappeared.

In one hundred glimpses of that pre-Internet world, Pamela Paul, editor of The New York Times Book Review, presents a captivating record, enlivened with illustrations, of the world before cyberspace--from voicemails to blind dates to punctuation to civility. There are the small losses: postcards, the blessings of an adolescence largely spared of documentation, the Rolodex, and the genuine surprises at high school reunions. But there are larger repercussions, too: weaker memories, the inability to entertain oneself, and the utter demolition of privacy.

100 Things We've Lost to the Internet is at once an evocative swan song for a disappearing era and, perhaps, a guide to reclaiming just a little bit more of the world IRL.

FINALIST FOR THE 2019 NATIONAL BOOK AWARD

Named a notable book of 2019 by the New York Times Book Review, Chicago Tribune, Time, and The Guardian

As featured by The Daily Show, NPR, PBS, CBC, Time, VIBE, Entertainment Weekly, Well-Read Black Girl, and Chris Hayes, incisive, witty, and provocative essays (Publishers Weekly) by one of the most bracing thinkers on race, gender, and capitalism of our time (Rebecca Traister)

Thick is sure to become a classic. --The New York Times Book Review

In eight highly praised treatises on beauty, media, money, and more, Tressie McMillan Cottom--award-winning professor and acclaimed author of Lower Ed--is unapologetically thick deemed thick where I should have been thin, more where I should have been less, McMillan Cottom refuses to shy away from blending the personal with the political, from bringing her full self and voice to the fore of her analytical work. Thick transforms narrative moments into analyses of whiteness, black misogyny, and status-signaling as means of survival for black women (Los Angeles Review of Books) with writing that is as deft as it is amusing (Darnell L. Moore).

This transgressive, provocative, and brilliant (Roxane Gay) collection cements McMillan Cottom's position as a public thinker capable of shedding new light on what the personal essay can do. She turns her chosen form into a showcase for her critical dexterity, investigating everything from Saturday Night Live, LinkedIn, and BBQ Becky to sexual violence, infant mortality, and Trump rallies.

Collected in an indispensable volume that speaks to the everywoman and the erudite alike, these unforgettable essays never fail to be painfully honest and gloriously affirming and hold a mirror to your soul and to that of America (Dorothy Roberts).

A fierce literary talent . . . [Wainaina] shines a light on his continent without cliché.--The Guardian

Africa is the only continent you can love--take advantage of this. . . . Africa is to be pitied, worshipped, or dominated. Whichever angle you take, be sure to leave the strong impression that without your intervention and your important book, Africa is doomed.

Binyavanga Wainaina was a pioneering voice in African literature, an award-winning memoirist and essayist remembered as one of the greatest chroniclers of contemporary African life. This groundbreaking collection brings together, for the first time, Wainaina's pioneering writing on the African continent, including many of his most critically acclaimed pieces, such as the viral satirical sensation How to Write About Africa. Working fearlessly across a range of topics--from politics to international aid, cultural heritage, and redefined sexuality--he describes the modern world with sensual, emotional, and psychological detail, giving us a full-color view of his home country and continent. These works present the portrait of a giant in African literature who left a tremendous legacy.

Selected from the archives of Catapult magazine, the essays in A Map Is Only One Story highlight the human side of immigration policies and polarized rhetoric, as twenty writers share provocative personal stories of existing between languages and cultures.

Victoria Blanco relates how those with family in both El Paso and Ciudad Juárez experience life on the border. Nina Li Coomes recalls the heroines of Japanese animator Hayao Miyazaki and what they taught her about her bicultural identity. Nur Nasreen Ibrahim details her grandfather's crossing of the India-Pakistan border sixty years after Partition. Krystal A. Sital writes of how undocumented status in the United States can impact love and relationships. Porochista Khakpour describes the challenges in writing (and rewriting) Iranian America. Through the power of personal narratives, as told by both emerging and established writers, A Map Is Only One Story offers a new definition of home in the twenty-first century.

The need to speak, even if one has nothing to say, becomes more pressing when one has nothing to say, just as the will to live becomes more urgent when life has lost its meaning.
--from The Ecstasy of Communication

First published in France in 1987, The Ecstasy of Communication was Baudrillard's summarization of his work for a postdoctoral degree at the Sorbonne: a dense, poetically crystalline essay that boiled down two decades of radical, provocative theory into an aphoristically eloquent swan song to twentieth-century alienation. Baudrillard's quixotic effort to be recognized by the French intellectual establishment may have been doomed to failure, but this text immediately became a pinnacle to his work, a mid-career assessment that looked both forward and back. By carefully distilling the most radical elements of his previous books, Baudrillard constructed the skeleton key to all of the work that was to come in the second half of his career, and set the scene for what he termed the obscene a world in which alienation has been succeeded by ceaseless communication and information. The Ecstasy of Communication is a decisive, compact description of what it means to be wired in our braver-than-brave new world, where sexuality has been superseded by pornography, knowledge by information, hysteria by schizophrenia, subject by object, and violence by terror.

The Ecstasy of Communication is an anti-manifesto that confronted and dispensed with such influences as Marshall McLuhan, Guy Debord, and Georges Bataille. It is an essential crib-book, lexicon, and companion piece to any and all of Baudrillard's books. Twenty-five years after its original publication, it remains not only a prescient portrait of our contemporary condition, but also a dark mirror into which we have not yet dared to look.

*Kirkus Reviews (starred review)

We were eight years in power was the lament of Reconstruction-era black politicians as the American experiment in multiracial democracy ended with the return of white supremacist rule in the South. In this sweeping collection of new and selected essays, Ta-Nehisi Coates explores the tragic echoes of that history in our own time: the unprecedented election of a black president followed by a vicious backlash that fueled the election of the man Coates argues is America's first white president.

But the story of these present-day eight years is not just about presidential politics. This book also examines the new voices, ideas, and movements for justice that emerged over this period--and the effects of the persistent, haunting shadow of our nation's old and unreconciled history. Coates powerfully examines the events of the Obama era from his intimate and revealing perspective--the point of view of a young writer who begins the journey in an unemployment office in Harlem and ends it in the Oval Office, interviewing a president.

We Were Eight Years in Power features Coates's iconic essays first published in The Atlantic, including Fear of a Black President, The Case for Reparations, and The Black Family in the Age of Mass Incarceration, along with eight fresh essays that revisit each year of the Obama administration through Coates's own experiences, observations, and intellectual development, capped by a bracingly original assessment of the election that fully illuminated the tragedy of the Obama era. We Were Eight Years in Power is a vital account of modern America, from one of the definitive voices of this historic moment.