Crux: The Georgia Series in Literary Nonfiction – serie

For her collection Lost Wax, Jericho Parms borrows her title from a casting method used by sculptors. As such, these eighteen essays, centered on art and memory, offer an investigation into form and content and the language of innocence, experience, and loss. Four sections (each borrowing names from the sculptures of Degas, Bernini, and Rodin) frame a series of meditations that consider the boundaries of the discernible world and the extremes of the body and the self. Here Parms draws heavily on memories of a Bronx upbringing in the 1980s and1990s; explorations in Spain, Portugal, Ireland, and the American West; the struggle to comprehend race, love, family, madness, and nostalgia; and the unending influence of art, poetry, and music.Written largely within the galleries of the Metropolitan Museum of Art, Lost Wax is an inquiry into the ways we curate memory and human experience despite the limits of observation and language. In these essays, Parms exhibits and examines her greatest obsessions: how to describe the surface of marble or bronze; how to embrace the necessary complexities of identity, stillness and movement, life and death—how to be young and alive.

With Let Us Build Us a City Tracy Daugherty considers the principles of literary art in a series of essays that focus on the nature of artistic vision and the creative individual’s relationship to the world. The book reads like a master class on writing as practice, while performing a deep reading of art and life and looking to discern why liberal education matters so much to our society.At its core, Let Us Build Us a City is a work of cultural and literary history, combining memoir (of the author’s experiences as a student and teacher of literature and writing) with analysis and speculation. Daugherty exploits a variety of forms to explore literary apprenticeship and mentoring, philosophy, politics, metaphysics, and American history.In particular, Daugherty focuses on the creative impulse and the diverse ways in which individual writers apply their imaginations to their craft. Along the way, he offers multiple lace of creative practice within it. Let Us Build Us a City is a stirring defense and timely renewal of our national literary vision.

In Exploded View “graphic” essays play with the conventions of telling a life story and with how illustration and text work together in print. As with a graphic novel, the story is not only in the text but also in how that text interacts with the images that accompany it.Diagrams were an important part of Dustin Parsons’s childhood. Parsons’s father was an oilfield mechanic, and in his spare time he was also a woodworker, an automotive mechanic, a welder, and an artist. His shop had countless manuals with “exploded view” parts directories that the young Parsons flipped through constantly. Whether rebuilding a transmission, putting together a diesel engine, or assembling a baby cradle, his father had a visual guide to help him. In these essays, Parsons uses the same approach to understanding his father as he navigates the world of raising two young biracial boys.This memoir distinguishes itself from others in its “graphic” elements—the appropriated diagrams, instructions, and “exploded view” inventory images—that Parsons has used. They help guide the reader’s understanding of the piece, giving them a visual anchor for the story, and add a technical aspect to the lyric essays that they hold. This mixture of the machine-like and the lyrical helps the reader understand the author’s world more fully—a world where art comes in the form of a welding torch, where creativity involves finding new ways to use old machines, and where delineating between right-brain and left-brain thinking isn’t so easy.

A misfit in Spooner, Wisconsin, with its farms, bars, and strip joints, Debra Monroe leaves to earn a degree, then another, and another, and builds a career—if only because her plans to be a midwestern housewife continually get scuttled. Fearless but naive, she vaults over class barriers but never quite leaves her past behind. When it comes to men, she’s still bluecollar. Negotiating the world of dating, Monroe pays careful attention to what love and sex mean to a woman ambivalent about her newfound status as “liberated.”Both the story of her steady rise into the professional class and a parallel history of unsuitable exes, this memoir reminds us how accidental even a good life can be. If Joan Didion advises us “to keep on nodding terms with the people we used to be,” Monroe takes this advice a step further and nods at the people she might have become but didn’t. Funny, poignant, wise, My Unsentimental Education explores the confusion that ensues when a working-class girl ends up far from where she began.

At the Dreamland, women and girls flicker from the shadows to take their proper place in the spotlight. In this lyrical collection, Sonja Livingston weaves together strands of research and imagination to conjure figures from history, literature, legend, and personal memory. The result is a series of essays that highlight lives as varied, troubled, and spirited as America itself.Harnessing the power of language, Livingston breathes life into subjects who led extraordinary lives—as rule-breakers, victims, or those whose differences made them cultural curiosities—bringing together those who slipped through the world largely unseen with those whose images were fleeting or faulty so that they, too, remained relatively obscure. Included are Alice Mitchell, a Memphis society girl who murdered her female lover in 1892; Maria Spelterini, who crossed Niagara Falls on a tightrope in 1876; May Fielding, a “white slave girl” buried in a Victorian cemetery; Valaida Snow, a Harlem Renaissance trumpeter; a child exhibited as Darwin’s Missing Link; the sculptors’ model Audrey Munson; a Crowwarrior; victims of a 1970s serial killer; the Fox Sisters; and many more.

In February 2010, with the help of a friend who works as a photographer with a National Geographic–sponsored cruise line, Justin Gardiner boarded a ship bound for Antarctica. A stowaway of sorts, Gardiner used his experiences on this voyage as the narrative backdrop for Beneath the Shadow, a compelling firsthand account that breathes new life into the nineteenth-century journals of Antarctic explorers such as Captain Robert Falcon Scott, Sir Ernest Henry Shackleton, and Captain Roald Amundsen.Beneath the Shadow is centered on journal excerpts by eight famous explorers, which Gardiner uses as touchstones for modern-day experiences of harsh seas, chance encounters, rugged terrain, and unspeakable beauty. With equal parts levity and lyricism, Gardiner navigates the distance between the historical and the contemporary, the artistic and the scientific, the heroic and the mundane. The bold and tragic tales of Antarctic explorers have long held our collective imagination—almost as much as the mythically remote land such explorers ventured to—and this book makes those voices come to life as few ever have.

Brian Doyle himself explains it best: “A few years ago I was moaning to my wry gentle dad that basketball, which seems to me inarguably the most graceful and generous and swift and fluid and ferociously-competitive-without-being-sociopathic of sports, has not produced rafts of good books, like baseball and golf and cricket and surfing have . . . Where are the great basketball novels to rival The Natural and the glorious Mark Harris baseball quartet and the great Bernard Darwin’s golf stories? Where are the annual anthologies of terrific basketball essays? How can a game full of such wit and creativity and magic not spark more great books?"“‘Why don’t you write one?’ said my dad, who is great at cutting politely to the chase."And so he has. In this collection of short essays, Brian Doyle presents a compelling account of a life lived playing, watching, loving, and coaching basketball. He recounts his passion for the gyms, the playgrounds, the sounds and scents, the camaraderie, the fierce competition, the anticipation and exhaustion, and even some of the injuries.

In the linked essays that make up her debut collection, This Is One Way to Dance, Sejal Shah explores culture, language, family, and place. Throughout the collection, Shah reflects on what it means to make oneself visible and legible through writing in a country that struggles with race and maps her identity as an American, South Asian American, writer of color, and feminist. This Is One Way to Dance draws on Shah’s ongoing interests in ethnicity and place: the geographic and cultural distances between people, both real and imagined. Her memoir in essays emerges as Shah wrestles with her experiences growing up and living in western New York, an area of stark racial and economic segregation, as the daughter of Gujarati immigrants from India and Kenya. These essays also trace her movement over twenty years from student to teacher and meditate on her travels and life in New England, New York City, and the Midwest, as she considers what it means to be of a place or from a place, to be foreign or familiar.Shah invites us to consider writing as a somatic practice, a composition of digressions, repetitions—movement as transformation, incantation. Her essays—some narrative, others lyrical and poetic—explore how we are all marked by culture, gender, and race; by the limits of our bodies, by our losses and regrets, by who and what we love, by our ambivalences, and by trauma and silence. Language fractures in its attempt to be spoken. Shah asks and attempts to answer the question: How do you move in such a way that loss does not limit you? This Is One Way to Dance introduces a vital new voice to the conversation about race and belonging in America.

Oysters are a narrative food: in each shuck and slurp, an eater tastes the place where the animal was raised. But that’s just the beginning. André Joseph Gallant uses the bivalve as a jumping off point to tell the story of a changing southeastern coast, the bounty within its waters, and what the future may hold for the area and its fishers. With A High Low Tide he places Georgia, as well as the South, in the national conversation about aquaculture, addressing its potential as well as its challenges.The Georgia oyster industry dominated in the field of oysters for canning until it was slowed by environmental and economic shifts. To build it back and to make the Georgia oyster competitive on the national stage, a bit of scientific cosmetic work must be done, performed through aquaculture. The business of oyster farming combines physical labor and science, creating an atmosphere where disparate groups must work together to ensure its future. Employing months of field research in coastal waters and countless hours interviewing scholars and fishermen, Gallant documents both the hiccups and the successes that occur when university researchers work alongside blue-collar laborers on a shared obsession.The dawn of aquaculture in Georgia promises a sea change in the livelihoods of wild-harvest shellfishermen, should they choose to adapt to new methods. Gallant documents how these traditional harvesters are affected by innovation and uncertain tides and asks how threatened they really are.

Cecile Pineda—award-winning Chicana novelist, memoirist, theater director, performer, activist—felt rootless throughout much of her life. Her father was an undocumented Mexican immigrant, and her mother was a French-speaking immigrant from Switzerland. Pineda, born in New York City, felt culturally disconnected from both of her parents, while also ill at ease in U.S. culture. In her life, we see the strange intersection of immigrant politics, troubles with ethnic identity, and the instability of family ties. In Entry Without Inspection, Pineda brings it all together, reconciling her past (much of which she had to piece together from vague memories and parental clues) while tracing how she formed her own identity through prose and theater in the absence of known roots. But as Pineda discovers, her life story doesn’t belong solely to her but is interwoven with those of her families, whether biological or chosen, and of the world around her. Because of this, Pineda’s memoir features parallel stories, that of her life running alongside and being informed by those of other immigrants. Pineda traces her story while also documenting the work of the first whistleblower to reveal an immigrant death in detention, in 2009, with the storylines converging to reveal the lasting consequences of U.S. immigration policy. She explores the ripple effects of these policies over generations, revealing the shocking truths of marginalization and deportation. Pineda exposes both the cultural losses and the traumatic aftereffects of misguided U.S. immigration policy. Entry Without Inspection is a truly American story in all its historical and emotional complexity, one in which personal ethics and political commentary are necessarily and inextricably interwoven.

With Mountain Madness, Clinton Crockett Peters chronicles his travels and personal transformation from a West Texas evangelical to mountain guide-addict to humbled humanist after a near-fatal injury in Japan’s Chichibu Mountains. From 2007 to 2010, Peters lived in Kosuge Village (population nine hundred), nestled in central Japan’s peaks, where he was the only foreigner in the rugged town. Using these three years as a frame, this essay collection profiles who he was before Japan, why he became obsessed with mountains, and his fallout from mountain obsession, including an essay on Craig Arnold, the poet who disappeared on a Japanese volcano. Ultimately, the collection asks, how can landscape create and end identities?

When Julia Ridley Smith’s parents died, they left behind a virtual museum of furniture, books, art, and artifacts. Between the contents of their home, the stock from their North Carolina antiques shop, and the ephemera of two lives lived, Smith faced a monumental task. What would she do with her parents’ possessions?Smith’s wise and moving memoir in essays, The Sum of Trifles, peels back the layers of meaning surrounding specific objects her parents owned, from an eighteenth-century miniature to her father’s prosthetics. A vintage hi-fi provides a view of her often tense relationship with her father, whose love of jazz kindled her own artistic impulse. A Japanese screen embodies her mother’s principles of good taste and good manners, while an antebellum quilt prompts Smith to grapple with her family’s slaveholding legacy. Along the way, she turns to literature that illuminates how her inheritance shaped her notions of identity and purpose. The Sum of Trifles offers up dark humor and raw feeling, mixed with an erudite streak. It’s a curious, thoughtful look at how we live in and with our material culture and how we face our losses as we decide what to keep and what to let go.

A tireless and discerning advocate for contemporary practitioners of creative nonfiction, Ned Stuckey-French was at the center of every national discussion about the genre. He greatly contributed to our scholarly understanding of the history of the essay and was working on his first essay collection when he died of cancer in 2019. That collection, One by One, the Stars, presents new, highly personal essays tracing Stuckey-French’s childhood in Indiana and a burgeoning interest, during adolescence, in politics and social justice to his life as a father, teacher, and writer. Thematic threads connect these elements, and foremost is his growing commitment to activism on behalf of the disadvantaged, overlooked, or threatened. The volume also features some of Stuckey-French’s “greatest hits” as a public scholar and writer, including “Don’t Be Cruel: An Argument for Elvis,” “Our Queer Little Hybrid Thing: Toward a Definition of the Essay,” and his popular essay on his Facebook addiction—for which he was widely known.Along the way, his stories and reflections offer fascinating and timely insights into family dynamics, history, politics, ecology, social justice, and literature. All of it is infused with Ned Stuckey-French’s guiding spirit, full of curiosity, compassion, and conviction.

Debra Monroe has always written about the source of trouble, “that one incident you zero down to and everything bad that happens afterward happens because of it.” The illusion that every problem has a clear-cut cause and discernible solution is apparently her gateway drug. It Takes a Worried Woman explores the outer limits of her faith that all past hardship could have been prevented and all future hardship might still be.Yet one person’s trouble is often a small eddy in the outflow of history, and this book becomes a meditation on the price of effort exerted against fixed circumstances. Dense with history, lyrical, at times darkly funny, these essays explore sexism, racism, hate speech, violence, Monroe’s grief about dwindling access to the natural world, and her fears as her daughter’s adult life unfolds. Whether depicting the ubiquitous pressure to marry, the search for a shape-shifting familiar old enough to be her mother, or childcare as a game of risk, Monroe takes a measured look at problems that could be solved, problems that may never be, and at all the ways that trouble is big but hope, new strategies, fresh patience, and endurance are eventually big enough.

Immigrant children first speak the language of their mothers, and in Toledo, Ohio’s Little Syria neighborhood where Joseph Geha grew up, the first place he would go to find his mother would be the kitchen. Many of today’s immigrants use Skype to keep in touch with folks back in the old country but in those “radio days” of old before the luxuries of hot running water or freezers, much less refrigeration, blenders, or microwaves, the kitchen was where an immigrant mother usually had to be, snapping peas or rolling grape leaves while she waited for the dough to rise. There, Geha’s mother took special pride in the traditional Syro-Lebanese food she cooked, such as stuffed eggplant, lentil soup, kibbeh with tahini sauce, shish barak, and fragrant sesame cookies.As much a memoir as a cookbook, Kitchen Arabic illustrates the journey of Geha’s early years in America and his family’s struggle to learn the language and ways of a new world. A compilation of family recipes and of the stories that came with them, it deftly blends culture with cuisine. In her kitchen, Geha’s mother took special pride in the Arabic dishes she cooked, cherishing that aspect of her heritage that, unlike language, has changed very little over time and distance. With this book, Geha shares how the food of his heritage sustained his family throughout that cultural journey, speaking to them—in a language that needs no translation—of joy and comfort and love.

Twice declared extinct, North America’s most endangered mammal species, the black-footed ferret (BFF), is making a comeback thanks to an evolving conservation regimen at more than thirty reintroduction sites across the continent. Lawrence Lenhart lingers at one such site in his proverbial backyard, the Aubrey Valley in northern Arizona. He clocks hundreds of hours behind the wheel, rolling over ranch ruts as he shines a spotlight over dusky sage steppe in the hopes of catching a fleck of emerald eyeshine.The beguiling weasel at the center of this book is more than a charismatic minifauna; it is the covert ambassador of a critical ecosystem that has dwindled to 1 percent of its former size. In a landscape menaced by habitat fragmentation, bacterial plague, settler colonialism, and soil death, a ferret must be resilient. Lenhart investigates the human efforts to sustain the species through monitoring, vaccination, captive breeding, and even cloning.Lenhart balances this lens of environmental witness with personal essaying that captures the parallel story of his wife’s pregnancy as he realizes the ferret’s conservation story is dramatically synchronized with her trimesters. In preparing to raise a child in the Anthropocene, Lenhart takes stock of his own ecosystem and finds something is amiss. Through an ethic of “deeper ecology,” Lenhart must hone his ecological interest in the black-footed ferret to assure it isn’t overshadowed by his own paternal interests.

As founding editor of Creative Nonfiction and architect of the genre, Lee Gutkind played a crucial role in establishing literary, narrative nonfiction in the marketplace and in the academy. A longstanding advocate of New Journalism, he has reported on a wide range of issues—robots and artificial intelligence, mental illness, organ transplants, veterinarians and animals, baseball, motorcycle enthusiasts—and explored them all with his unique voice and approach.In My Last Eight Thousand Days, Gutkind turns his notepad and tape recorder inward, using his skills as an immersion journalist to perform a deep dive on himself. Here, he offers a memoir of his life as a journalist, editor, husband, father, and Pittsburgh native, not only recounting his many triumphs, but also exposing his missteps and challenges. The overarching concern that frames these brave, often confessional stories, is his obsession and fascination with aging: how aging provoked anxieties and unearthed long-rooted tensions, and how he came to accept, even enjoy, his mental and physical decline. Gutkind documents the realities of aging with the characteristically blunt, melancholic wit and authenticity that drive the quiet force of all his work.

My Withered Legs and Other Essays is a collection of personal essays by Sandra Gail Lambert that reflects upon her experience becoming a writer alongside discussions of disability, queerness, and aging. A seventy-year history of disability is threaded throughout these essays and intertwined with writing that celebrates lesbian love, explores the slapstick moments of life, and shares the obstacles and triumphs of becoming a writer later in life. The essays chronicle times of interruption and then adaptation as the disability skill of always just figuring it out becomes tested with age and with illness. Throughout the book, Lambert engages with topics of ageism and ableism through storytelling rich with wit and contemplation. From childhood Lambert believed as a disabled person she was “ice floe material” rife for abandonment, and during the pandemic she ticks off the additional comorbidities—age, fatness, cancer, a heart attack—that groups her with the expendable. In the essay "Gimp Humor," she is threatened with a ticket for not coming to a full stop while strolling along in her wheelchair. Underpinning the humor is an analysis of whiteness and the wariness that can be lodged, or not, in a body. Other essays reimagine the meaning of "Old Lady Dabbler," recount kayaking among a hundred alligators, and tell the romantic, laden-with-power-dynamics tale of two lesbians in their sixties who fall in love. Another essay explores the family story, truth embellished with fiction, of Lambert’s mother finding an unexploded bomb nestled in her parents' bed. This tale of the London Blitz delves into the increasingly common experience of "emergence" after a disaster and the necessity of becoming, especially for marginalized communities, our own first responders.

Early in Brooke Champagne’s childhood, her Ecuadorian grandmother Lala (half bruja, half santa) strictly circumscribed the girl’s present and future: become beautiful but know precisely when to use it; rationalize in English but love in God’s first language, the superior Spanish; and if you must write, Dios help you, at least make a subject of me. Champagne’s betrayal of these confounding dictates began before they were even spoken, and she soon started both writing and hiding the truth about whom she was becoming. The hilarious, heartbreaking essays in this collection trace the evolutions of this girlhood of competing languages, ethnicities, aesthetics, politics, and class constraints against the backdrop of a boozy New Orleans upbringing. In these essays, Champagne and members of her family love poorly and hate well, whip and get whipped, pray and curse in two languages, steal from The Man and give to themselves, kiss where it hurts, poke where it hurts worse, and keep and spill each other’s secrets—first face-to-face, then on the page. They believe and doubt and reckon with the stories they tell about themselves and where they come from, finally becoming most human, most alive, in their connections to one another.

This debut essay collection is inspired by the grief Maddie Norris experienced in the wake of her father's death from cancer when she was seventeen. Norris uses a medical lens to examine the anguish that followed and likens mourning to wound care. These linked essays examine grief from different angles, resulting in a multilayered exploration of why, contrary to popular belief, keeping wounds open is the best way to care for them physically and emotionally. Norris approaches the narrative through various topics—the investigation of body preservation, the history of skin grafts, and a deep dive into physical pain—all of them related to how she carries this fundamental loss. By centering on the importance of mourning (a long-term practice frowned upon in Western culture), the essays unsettle conventional wisdom as the text pushes against the stereotypical notion of "letting go" and "moving on." The Wet Wound: An Elegy in Essays thus unpacks the question: What happens when, instead of following steps prescribed by those outside loss, we let ourselves dwell in grief?

Lydia Paar joined the American workforce at age fourteen, holding a wide variety of jobs (twenty-seven, at last count) between then and now, across twenty-five different homes in eight states. The essays in this collection explore her attempts to evade or transform the lower-middle class American experience across various cityscapes, towns, deserts, and in-between places. As she moves through these spaces, she seeks peace, connection, and freedom: from the hip streets of Portland to desolate deserts, Army basic training to cross-country bus trips, to eerie St. Louis funeral homes, and more. Each essay interrogates the interior emotional work that accompanies such grappling: labors of love and friendship, of learning, of motion, of maintenance, and of finding faith in potential for positive change. Across a range of interior and exterior landscapes, Paar meditates on subcultures, agendas, violences, alliances, and the intersection of the natural world with our human endeavors. Ultimately, she considers how what we try to transform so often transforms us.

The Decade of Letting Things Go is a book of linked essays containing still-relevant experiences that take place after the age of becoming socially and/or professionally invisible, as Cris Mazza searches for the elusive serenity of self-acceptance among a growing list of losses. Mazza’s story contains many of life’s expected losses: pets, parents, old mentors, and symbols of enduring natural places, as well as the loss of identities—child, student, partner, “successful” author. Some of her late-life experiences aren’t so easily categorized: having a mentally ill neighbor try to get her to come outside and fight; unpacking the complicity in thirty-year-old #MeToo incidents; “hooking up” with a “boy” from her teenaged past; struggling to accept that lifelong sexual dysfunction will never wane; realizing a deeply trusted mentor from forty-five years ago might be declining into dementia; plus a lifelong attachment to a childhood wound of having a “preferred child” as a sibling. Ultimately there is also the apparent loss of hope in ever finding contentment in the mark one makes in the world or in ever forming an identity that brings this abstract contentment—except that these have no expiration dates, and the exhausted author, at the end, is ready to keep looking.

Sifting the Feminine: Essays on a Woman’s Body examines how we define and understand femininity in relation to how we consider and treat women’s bodies. Through a collection of personal, lyric, and flash essays, Ashley Anderson explores how illness, particularly polycystic ovarian syndrome (PCOS), manifests and affects the relationships between women, their bodies, and the world. In retaliation against a history of scrutiny, Sifting the Feminine upends the idea that our bodies are always within our own control. Meditating on illness, health care, social media, storytelling, clothing, various forms of violence, and popular culture, Sifting the Feminine seeks to understand why women’s bodies that challenge societal and cultural expectations of femininity are routinely disregarded in a world where no two bodies, regardless of gender, exist in the same way.

In Happier Far, Diane Mehta takes us on a funny and engrossing tour of the absurdities and dilemmas of becoming a writer, and how family can sometimes help us and sometimes get in the way. From a vibrant childhood in India to her youth in an unwelcoming New Jersey suburb, from the confusions of marriage and divorce to life as a single parent, she chronicles her search for a family history that can help explain who she is and what matters most to her now.In concert halls, art galleries, parks, cemeteries, and hospitals, Mehta follows her curiosity to imaginatively expand her immediate world. With a voice that’s propulsive and ironic, sly and profound, she takes stock: She wrestles with a personal tragedy in a letter to a turtle and reveals the hallucinatory mania of migraines in her interactions with a dog-walking service. She meditates on memory with ghosts of the dead, teaches herself to swim despite chronic pain, connects with her mother by listening to Beethoven’s late sonatas, and examines family documents in an effort to pin down the story of her Indian-Jain and Jewish-American parents. Mehta tries to meet the demands of love, marriage, divorce, and parenting, all while figuring out what it takes to express herself clearly. An original and feisty storyteller, Mehta shows us that if you are kicked out of the life you thought you were going to lead, you can still rebuild it and become, as Milton said in Paradise Lost, “happier far.”

More than at any time in human history, our daily lives are scored and imprinted by music. We listen while bicycling, while taking walks, on the train to and from work, and at home on stereos or streaming. We’re immersed in music and music making virtually 24/7. Why is music such an essential part of the way we live, and how does it enrich and fasten itself to our very beings?Play This Book Loud tunes in to many voices, from mainstream bands to obscure artists, from Lydia Loveless singing her heart out and DJ Shadow/Cut Chemist endlessly crate digging, from the Detroit Cobras playing for a few dozen to Green Day filling stadiums, from Riot Grrrl punk to the traditional styles of Connie Francis, from the Stooges’ messiness and psychedelic rock to the careful orchestration of anonymous session players and 1960s commercial jingles.In this compelling and exuberant book, song by song, Joe Bonomo moves between zones of listening, turned on while wearing headphones or watching a band in a club. With the heart of a fan and a generous ear, he enthusiastically explores the reasons music, and those who devote themselves to it, matters so deeply. Play This Book Loud explores our urge for sonic existence.

They called him “pale faced or mixed race.” They called him “light, bright, almost white.” But most of the time his family called him “high yella.” Steve Majors was the white passing, youngest son growing up in an all-Black family that struggled with poverty, abuse, and generational trauma. High Yella is the poignant account of how he tried to leave his troubled childhood and family behind to create a new identity, only to discover he ultimately needed to return home to truly find himself. And after he and his husband adopt two Black daughters, he must set them on their own path to finding their place in the world by understanding the importance of where they come from.In his remarkable and moving memoir, Majors gathers the shards of a broken past to piece together a portrait of a man on an extraordinary journey toward Blackness, queerness, and parenthood. High Yella delivers its hard-won lessons on love, life, and family with exceptional grace.

Jazz June: A Self-Portrait in Essays traces a life, not by recounting its major events but by going deep into its representative moments: the moments of wonder, hope, fear, uncertainty, humor, love, and epiphany that make up human experience. Along the way, as a son of a widowed mother, as a young man in the big city, as a husband and father, as an aging empty nester, and as an artist, the author discovers, with each new role, more of who he is. A lover of the arts, he offers creative reflections on literature, music, and film; a Black American whose life is informed but not defined by race, he embraces Black culture while remaining defiantly himself.

A provocative and meticulously structured exploration of identity, language, and the body, My Corpse Inside exposes the thin and increasingly blurry line between the physical and the digital, between the living and the dead. Wes Jamison contends with the complex and disturbing relationship of sexuality and violence through a torrent of virtual horrors—shock sites, hookup apps, beheading videos, and creepshots—as well as through Jamison’s own experiences of being surveilled and exploited online. Inspired by Kiyoshi Kurosawa’s master horror film Kairo, which portrays ghosts overflowing into our reality through the internet, this fragmented book-length essay clarifies Julia Kristeva’s infamously esoteric theory of abjection and subjectivity and updates it for today’s constant virtuality. My Corpse Inside is a disquieting work that asks readers to confront the violence, fetish, horror, and loneliness inherent in our eternal connectivity.

This is a love-hate story about personal and political relationships in the United States, told through the intimate stories of both the rejectors and the rejected: lovers, families, neighbors, and a nation and its people. Although we’re taught not to care about others’ opinions, rejection always hurts, and it hurts some people a lot more than others. To prove it, this book marshals contemporary neuroscience, the Founding Fathers’ rejection advice, and four centuries of personal narratives, many of them hilarious, many more heartbreaking. These rejection and acceptance stories span loving and disastrous American first encounters, soldiers and dancers rejected on front lines and chorus lines, playground bullies invoked before the Senate, and generations of lovers and patriots battling or swiping right to defend their loved ones and their country.Abraham Lincoln wrote, “The true rule, in determining to embrace, or reject any thing, is not whether it have any evil in it; but whether it have more evil, than of good.” But rejection is often unjust, often deserved, and unusually complicated, depending on who’s rejecting whom and why.In laboratories, diaries, self-help manuals, auditions, lawsuits, and wars, we find models for “getting past” rejections, not just through personal resilience, but also through creating accountability and justice. United States of Rejection begins with heartbreak and ends with hope: an urgent self-improvement program for changing our relationships and the future of our messy nation.