The Mayan god of death sends a young woman on a harrowing, life-changing journey in this one-of-a-kind fairy tale inspired by Mexican folklore. The Jazz Age is in full swing, but Casiopea Tun is too busy cleaning the floors of her wealthy grandfather’s house to listen to any fast tunes. Nevertheless, she dreams of a life far from her dusty small town in southern Mexico. A life she can call her own. Yet this new life seems as distant as the stars, until the day she finds a curious wooden box in her grandfather’s room. She opens it—and accidentally frees the spirit of the Mayan god of death, who requests her help in recovering his throne from his treacherous brother. Failure will mean Casiopea’s demise, but success could make her dreams come true. In the company of the strangely alluring god and armed with her wits, Casiopea begins an adventure that will take her on a cross-country odyssey from the jungles of Yucatán to the bright lights of Mexico City—and deep into the darkness of the Mayan underworld. Alternate cover edition of ISBN 9780525620754

The fascinating history of women’s health as it’s never been told before. For as long as medicine has been a practice, women's bodies have been treated like objects to be practiced on: examined and ignored, idealized and sexualized, shamed, subjugated, mutilated, and dismissed. The history of women’s healthcare is a story in which women themselves have too often been voiceless—a narrative instead written from the perspective of men who styled themselves as authorities on the female of the species, yet uninformed by women’s own voices, thoughts, fears, pain and experiences. The result is a cultural and societal legacy that continues to shape the (mis)treatment and care of women. While the modern age has seen significant advancements in the medical field, the notion that female bodies are flawed inversions of the male ideal lingers on—as do the pervasive societal stigmas and lingering ignorance that shape women’s health and relationships with their own bodies. Memorial Sloan Kettering oncologist and medical historian Dr. Elizabeth Comen peels back the curtain on the collective medical history of women to reintroduce us to our whole bodies—how they work, the actual doctors and patients whose perspectives and experiences laid the foundation for today’s medical thought, and the many oversights that still remain unaddressed. With a physician’s knowledge and empathy, Dr. Comen follows the road map of the eleven organ systems to share unique and untold stories, drawing upon medical texts and journals, interviews with expert physicians, as well as her own experience treating thousands of women. Empowering women to better understand ourselves and advocate for care that prioritizes healthy and joyful lives—for us and generations to come—All in Her Head is written with humor, wisdom, and deep scientific and cultural insight. Eye-opening, sometimes enraging, yet always captivating, this shared memoir of women’s medical history is an essential contribution to a holistic understanding and much-needed reclaiming of women’s history and bodies.

A groundbreaking work of history and reportage that unveils the stranger-than-fiction world of multilevel marketing, from the shadowy cabals at the top to the strivers at the bottom, whose deferred dreams churn a massive money-making scam that has remade American society. Multilevel marketing companies like Amway, Mary Kay, and Herbalife advertise the ultimate business opportunity: the chance to be your own boss. In exchange for peddling their wares, they offer a world of pink Cadillacs, white-columned mansions, tropical vacations, and—most precious of all—financial freedom. If, that is, you’re willing to shell out for expensive products, recruit everyone you know to buy them, and make them recruit everyone they know to do the same—thus creating the “multiple levels” of multilevel marketing, or MLM. Despite overwhelming evidence that multilevel marketing causes most of its participants to lose their money, and that many MLM companies are pyramid schemes, the industry’s dubious origins, inextricably tied to well-known ideological figures like Ronald Reagan, have escaped public scrutiny. Behind the scenes of American life, MLM has slithered in the wake of every economic crisis of the last century, from the Depression to the pandemic, ensnaring laid-off workers, stay-at-home moms, teachers, nurses—anyone who has been left behind by inequality. In Little Bosses Everywhere, journalist Bridget Read tells the gripping story of multilevel marketing in full for the first time, winding from sunny post-war California, where a failed salesman started a vitamin business, through the suburbs of Michigan and North Carolina, where MLM bought its political protection, to the stadium-sized conventions where top sellers today preach to die-hard recruits. MLM has been endorsed by multiple American presidents, has its own Congressional caucus, and enriched powerful people, like the DeVos and Van Andel families, Warren Buffet, and Donald Trump. Along the way, Read delves into the heartbreaking stories of those enmeshed in the majority-female industry: a veteran in Florida searching for healing; a young mom in Texas struggling to feed her children; a waitress scraping by in Brooklyn. A wild trip down an endless rabbit hole of greed and exploitation, Little Bosses Everywhere exposes multilevel marketing as American capitalism’s stealthiest PR campaign: a cunning right-wing political project that has shaped nearly everything about how we live.

The heartrending story of a midcentury American family with twelve children, six of them diagnosed with schizophrenia, that became science's great hope in the quest to understand the disease. Don and Mimi Galvin seemed to be living the American dream. After World War II, Don's work with the Air Force brought them to Colorado, where their twelve children perfectly spanned the baby boom: the oldest born in 1945, the youngest in 1965. In those years, there was an established script for a family like the Galvins—aspiration, hard work, upward mobility, domestic harmony—and they worked hard to play their parts. But behind the scenes was a different story: psychological breakdown, sudden shocking violence, hidden abuse. By the mid-1970s, six of the ten Galvin boys, one after another, were diagnosed as schizophrenic. How could all this happen to one family? What took place inside the house on Hidden Valley Road was so extraordinary that the Galvins became one of the first families to be studied by the National Institute of Mental Health. Their story offers a shadow history of the science of schizophrenia, from the era of institutionalization, lobotomy, and the schizophrenogenic mother to the search for genetic markers for the disease, always amid profound disagreements about the nature of the illness itself. And unbeknownst to the Galvins, samples of their DNA informed decades of genetic research that continues today, offering paths to treatment, prediction, and even eradication of the disease for future generations. With clarity and compassion, bestselling and award-winning author Robert Kolker uncovers one family's unforgettable legacy of suffering, love, and hope.

A bold, provocative collection of essays on one of the most urgent questions of our What is authority when everyone has an opinion on everything? Since her canonical 2017 essay “On Liking Women,” the Pulitzer Prize–winning critic Andrea Long Chu has established herself as a public intellectual straight out of the 1960s. With devastating wit and polemical clarity, she defies the imperative to leave politics out of art, instead modeling how the left might brave the culture wars without throwing in with the cynics and doomsayers. Authority brings together Chu’s critical work across a wide range of media—novels, television, theater, video games—as well as an acclaimed tetralogy of literary essays first published in n+1. As a critic, Chu places The Phantom of the Opera within a centuries-old conflict between music and drama; questions the enduring habit of reading Octavia Butler’s science fiction as a parable of slavery; teases out the ideology behind Hillary Clinton’s (fictional) sex life; and charges fellow critics like Maggie Nelson and Zadie Smith with a complacent humanism. Criticism is in a crisis of authority—or rather, that’s what critics have been saying ever since the Enlightenment. In a magisterial new essay, Chu offers a revised intellectual history of this supposed crisis, tracing the surprisingly political contours of criticism from its origins in eighteenth-century aesthetics all the way to its present form in the age of social media. Rather than succumbing to an endless cycle of trumped-up emergencies, Authority makes a compelling case for how to do criticism in light of the genuine crises, from authoritarianism to genocide, that confront us today.

From the author of the New York Times best seller Poser and the acclaimed memoir Love and Trouble, a passionate, provocative, blisteringly smart interrogation of how we make and experience art in the age of #MeToo, and of the link between genius and monstrosity. In this unflinching, deeply personal book that expands on her instantly viral Paris Review essay, What Do We Do with the Art of Monstrous Men? Claire Dederer asks: Can we love the work of Hemingway, Polanski, Naipaul, Miles Davis, or Picasso? Should we love it? Does genius deserve special dispensation? Is male monstrosity the same as female monstrosity? Does art have a mandate to depict the darker elements of the psyche? And what happens if the artist stares too long into the abyss? She explores the audience's relationship with artists from Woody Allen to Michael Jackson, asking: How do we balance our undeniable sense of moral outrage with our equally undeniable love of the work? In a more troubling vein, she wonders if an artist needs to be a monster in order to create something great. And if an artist is also a mother, does one identity inexorably, and fatally, interrupt the other? Highly topical, morally wise, honest to the core, Monsters is certain to incite a conversation about whether and how we can separate artists from their art.