From Jesmyn Ward—the two-time National Book Award winner, youngest winner of the Library of Congress Prize for Fiction, and MacArthur Fellow—comes a haunting masterpiece, sure to be an instant classic, about an enslaved girl in the years before the Civil War. “‘Let us descend,’ the poet now began, ‘and enter this blind world.’” — Inferno, Dante Alighieri Let Us Descend is a reimagining of American slavery, as beautifully rendered as it is heart-wrenching. Searching, harrowing, replete with transcendent love, the novel is a journey from the rice fields of the Carolinas to the slave markets of New Orleans and into the fearsome heart of a Louisiana sugar plantation. Annis, sold south by the white enslaver who fathered her, is the reader’s guide through this hellscape. As she struggles through the miles-long march, Annis turns inward, seeking comfort from memories of her mother and stories of her African warrior grandmother. Throughout, she opens herself to a world beyond this world, one teeming with of earth and water, of myth and history; spirits who nurture and give, and those who manipulate and take. While Ward leads readers through the descent, this, her fourth novel, is ultimately a story of rebirth and reclamation. From one of the most singularly brilliant and beloved writers of her generation, this miracle of a novel inscribes Black American grief and joy into the very land—the rich but unforgiving forests, swamps, and rivers of the American South. Let Us Descend is Jesmyn Ward’s most magnificent novel yet, a masterwork for the ages.

From Jesmyn Ward—the two-time National Book Award winner, youngest winner of the Library of Congress Prize for Fiction, and MacArthur Fellow—comes a haunting masterpiece, sure to be an instant classic, about an enslaved girl in the years before the Civil War. “‘Let us descend,’ the poet now began, ‘and enter this blind world.’” — Inferno, Dante Alighieri Let Us Descend is a reimagining of American slavery, as beautifully rendered as it is heart-wrenching. Searching, harrowing, replete with transcendent love, the novel is a journey from the rice fields of the Carolinas to the slave markets of New Orleans and into the fearsome heart of a Louisiana sugar plantation. Annis, sold south by the white enslaver who fathered her, is the reader’s guide through this hellscape. As she struggles through the miles-long march, Annis turns inward, seeking comfort from memories of her mother and stories of her African warrior grandmother. Throughout, she opens herself to a world beyond this world, one teeming with of earth and water, of myth and history; spirits who nurture and give, and those who manipulate and take. While Ward leads readers through the descent, this, her fourth novel, is ultimately a story of rebirth and reclamation. From one of the most singularly brilliant and beloved writers of her generation, this miracle of a novel inscribes Black American grief and joy into the very land—the rich but unforgiving forests, swamps, and rivers of the American South. Let Us Descend is Jesmyn Ward’s most magnificent novel yet, a masterwork for the ages.

First published in 1979, Joan Didion's The White Album records indelibly the upheavals and aftermaths of the 1960s. Examining key events, figures, and trends of the era—including Charles Manson, the Black Panthers, and the shopping mall—through the lens of her own spiritual confusion, Joan Didion helped to define mass culture as we now understand it. Written with a commanding sureness of tone and linguistic precision, The White Album is a central text of American reportage and a classic of American autobiography.

From one of our most iconic and influential writers: a timeless collection of mostly early pieces that reveal what would become Joan Didion's subjects, including the press, politics, California robber barons, women, and her own self-doubt. Here are six pieces written in 1968 from the "Points West" Saturday Evening Post column Joan Didion shared from 1964 to 1969 with her husband, John Gregory Dunne about: American newspapers; a session with Gamblers Anonymous; a visit to San Simeon; being rejected by Stanford; dropping in on Nancy Reagan, wife of the then-governor of California, while a TV crew filmed her at home; and an evening at the annual reunion of WWII veterans from the 101st Airborne Association at the Stardust Hotel in Las Vegas. Here too is a 1976 piece from the New York Times magazine on "Why I Write"; a piece about short stories from New West in 1978; and from The New Yorker, a piece on Hemingway from 1998, and on Martha Stewart from 2000. Each one is classic Didion: incisive, bemused, and stunningly prescient.

First published in 1979, Joan Didion's The White Album records indelibly the upheavals and aftermaths of the 1960s. Examining key events, figures, and trends of the era—including Charles Manson, the Black Panthers, and the shopping mall—through the lens of her own spiritual confusion, Joan Didion helped to define mass culture as we now understand it. Written with a commanding sureness of tone and linguistic precision, The White Album is a central text of American reportage and a classic of American autobiography.

"The follow-up to his Booker Prize-shortlisted The Runaways, Sunjeev Sahota's new novel follows characters across generations and continents (from Punjab to rural England) and is equally heart-wrenching." --Entertainment Weekly "A gorgeous, gripping read." --Kamila Shamsie, author of Home Fire "Cements [Sahota's] place in a vibrant literary canon alongside Salman Rushdie, Kamila Shamsie, Mohsin Hamid, Hari Kunzru and others." --BookPage A transfixing novel about two unforgettable characters seeking to free themselves--one from the expectations of women in early 20th century Punjab, and the other from the weight of life in the contemporary Indian diaspora Mehar, a young bride in rural 1929 Punjab, is trying to discover the identity of her new husband. Married to three brothers in a single ceremony, she and her now-sisters spend their days hard at work in the family's "china room," sequestered from contact with the men--except when their domineering mother-in-law, Mai, summons them to a darkened chamber at night. Curious and strong willed, Mehar tries to piece together what Mai doesn't want her to know. From beneath her veil, she studies the sounds of the men's voices, the calluses on their fingers as she serves them tea. Soon she glimpses something that seems to confirm which of the brothers is her husband, and a series of events is set in motion that will put more than one life at risk. As the early stirrings of the Indian independence movement rise around her, Mehar must weigh her own desires against the reality--and danger--of her situation. Spiraling around Mehar's story is that of a young man who arrives at his uncle's house in Punjab in the summer of 1999, hoping to shake an addiction that has held him in its grip for more than two years. Growing up in small-town England as the son of an immigrant shopkeeper, his experiences of racism, violence, and estrangement from the culture of his birth led him to seek a dangerous form of escape. As he rides out his withdrawal at his family's ancestral home--an abandoned farmstead, its china room mysteriously locked and barred--he begins to knit himself back together, gathering strength for the journey home. Partly inspired by award-winning author Sunjeev Sahota's family history, China Room is at once a deft exploration of how systems of power circumscribe individual lives and a deeply moving portrait of the unconquerable human capacity to resist them. At once sweeping and intimate, lush and propulsive, it is a stunning achievement from a contemporary master.

This novel considers the effects of Soviet rule on a single individual. The central character in the story tries to follow her calling as a doctor. But then the state steps in. She is deprived first of her professional future, then of her identity and finally of her relationship with her daughter. Banished to a village in the Latvian countryside, her sense of isolation increases. Will she and her daughter be able to return to Riga when political change begins to stir? At first glance this novel depicts a troubled mother-daughter relationship set in the the Soviet-ruled Baltics between 1969 and 1989. Yet just beneath the surface lies something far more positive: the story of three generations of women, and the importance of a grandmother giving her granddaughter what her daughter is unable to provide – love, and the desire for life.

Cloistered in a stone cell at the monastery of Saint Brigit, a sixth-century Irish nun secretly records the memories of her Pagan youth, interrupting her assigned task of transcribing Augustine and Patrick. She also writes of her fiercely independent mother, whose skill with healing plants and inner strength she inherited. She writes of her druid teacher, the brusque but magnetic Giannon, who first introduced her to the mysteries of written language. But disturbing events at the cloister keep intervening. As the monastery is rent by vague and fantastic accusations, Gwynneve's words become the one force that can save her from annihilation.

The long-awaited essay collection from one of the most influential voices in disability activism that detonates a bomb in our collective understanding of care and illness, showing us that sickness is a fact of life.In the wake of the 2014 Ferguson riots, and sick with a chronic condition that rendered them housebound, Johanna Hedva turned to the page to How do you throw a brick through the window of a bank if you can’t get out of bed? It was not long before this essay, “Sick Woman Theory”, became a seminal work on disability, because in reframing illness as not just a biological experience but a social one, Hedva argues that under capitalism—a system that limits our worth to the productivity of our bodies—we must reach for the revolutionary act of caring for ourselves and others.How to Tell When We Will Die expands upon Hedva’s paradigm-shifting perspective in a series of slyly subversive and razor-sharp essays that range from the theoretical to the personal—from Deborah Levy and Susan Sontag to wrestling, kink, mysticism, death, and the color yellow. Drawing from their experiences with America’s byzantine healthcare system, and considering archetypes they call The Psychotic Woman, The Freak, and The Hag in Charge, Hedva offers a bracing indictment of the politics that exploit sickness—relying on and fueling ableism—to the detriment of us all.With the insight of Anne Boyer’s The Undying and Leslie Jamison’s The Empathy Exams, and the wit of Samantha Irby, Hedva’s debut collection upends our collective understanding of disability. In their radical reimagining of a world where care and pain are symbiotic, and our bodies are allowed to live free and well, Hedva implores us to remember that illness is neither an inconvenience or inevitability, but an enlivening and elemental part of being alive.

Set against the backdrop of French colonial Vietnam, The Lover reveals the intimacies and intricacies of a clandestine romance between a pubescent girl from a financially strapped French family and an older, wealthy Chinese-Vietnamese man.

Attention. Attention. The gates are down. The hunters are loose. Run, Run, Run. A lush jungle teeming with danger. Savage dinosaurs seeking blood. A fallen princess intent on vengeance. A mysterious, end-of-floor celebration for the top crawlers, dubbed “The Butcher’s Masquerade.” The sixth floor. The Hunting Grounds. As the remaining crawlers battle for their lives, a new, terrible threat looms. Outside tourists are finally allowed to enter the game, and they are here and ready to hunt. Among them is Vrah, a famed and veteran hunter, intent on collecting the biggest trophy of her career. But their prey is far from harmless, and this season they are fighting back. Dungeon Crawler Carl and Princess Donut return in book five of the acclaimed litrpg series.

Set against the backdrop of French colonial Vietnam, The Lover reveals the intimacies and intricacies of a clandestine romance between a pubescent girl from a financially strapped French family and an older, wealthy Chinese-Vietnamese man.