As bombs rained down on Gaza in October 2023, images of mass death and destruction gripped the world, and openly genocidal statements from Israeli leaders foretold the magnitude of horrors to come. But the US media was quick to downplay, obscure, and repackage an emerging campaign of extermination into a slick “war on terror” framework.  How to Sell a Genocide is a thorough indictment of US corporate media's role in enabling—and, at times, directly inciting—one of the most devastating campaigns of mass killing in modern memory. Johnson unpacks how major news outlets like The New York Times, CNN, and MSNBC systematically sanitised Israel's war crimes, hid the US’s central role, and dehumanised the Palestinian people. Drawing from deep, original data-driven analysis, Johnson dissects the mechanics of propaganda, from the selective empathy, strategic omissions, overt racism and repetition of state-sanctioned falsehoods, to the demonisation of humanitarian workers and dishonest coverage of campus protests. With clarity and moral force, Johnson argues that the genocide could not have been sustained without the active, sustained complicity of the US media.

A national bestseller when it first appeared in 1963, The Fire Next Time galvanized the nation and gave passionate voice to the emerging civil rights movement. At once a powerful evocation of James Baldwin’s early life in Harlem and a disturbing examination of the consequences of racial injustice, the book is an intensely personal and provocative document. It consists of two “letters,” written on the occasion of the centennial of the Emancipation Proclamation, that exhort Americans, both black and white, to attack the terrible legacy of racism. Described by The New York Times Book Review as “sermon, ultimatum, confession, deposition, testament, and chronicle…all presented in searing, brilliant prose,” The Fire Next Time stands as a classic of our literature.

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.

A multiverse-hopping outsider discovers a secret that threatens her home world and her fragile place in it--a stunning sci-fi debut that's both a cross-dimensional adventure and a powerful examination of identity, privilege, and belonging. CARA IS DEAD ON THREE HUNDRED AND SEVENTY-FOUR WORLDS. The multiverse business is booming, but there's just one catch: no one can visit a world where their counterpart is still alive. Enter Cara, whose parallel selves happen to be exceptionally good at dying--from diseases, from turf wars, from vendettas they couldn't outrun. But on this earth, Cara's survived. And she's reaping the benefits, thanks to the well-heeled Wiley City scientists who ID'd her as an outlier and plucked her from the dirt. Now she's got a new job collecting offworld data, a path to citizenship, and a near-perfect Wiley City accent. Now she can pretend she's always lived in the city she grew up staring at from the outside, even if she feels like a fraud on either side of its walls. But when one of her eight remaining doppelgangers dies under mysterious circumstances, Cara is plunged into a new world with an old secret. What she discovers will connect her past and future in ways she never could have imagined--and reveal her own role in a plot that endangers not just her world, but the entire multiverse.

After a decade of surging political activism, why have mass movements managed to change so little? A brilliant cultural analysis by the influential columnist.“Hyperpolitics” describes the paradoxical state of affairs today, in which politicization seemingly has few political consequences. Anton Jager's incisive appraisal sets the benchmark by which future histories of the present will be judged. Politics is back.After the posthistorical lull of the 1990s and the false dawn of millennial technocracy, contestation has returned centre-stage. Protests, riots and jacqueries bring citizens off their couches and into the streets, even as social media overruns the embankments of the public and personal. Such actions politicize an ever greater share of experience while lowering the costs of engagement. Yet this spate of activism has seldom translated into more durable forms of collective action—parties, trade unions and civic associations continue to atrophy, even as advertisements of commitment proliferate.

Amy M. Alvarez explores the cultural, spiritual, and place-based experiences of Afro-Caribbean and African American diasporic peoples in this haunting and emotionally charged collection of poems that meditates on the meaning of home and existence. Born in New York City to Jamaican and Puerto Rican parents, Alvarez draws readers into a journey of self-discovery and identity, connecting the past with the present while highlighting the complexities of navigating life as a multicultural American. The musicality of her language weaves together themes of environment, family, and migration, as well as her own ancestry as a Black Latinx woman. Makeshift Altar is an intimate collection that explores identities forged by colonialism and displacement and shaped by individual choice and collective power.

The Pulitzer Prize-winning author of Beloved and Jazz now gives us a learned, stylish, and immensely persuasive work of literary criticism that promises to change the way we read American literature even as it opens a new chapter in the American dialogue on race. Toni Morrison's brilliant discussions of the "Africanist" presence in the fiction of Poe, Melville, Cather, and Hemingway leads to a dramatic reappraisal of the essential characteristics of our literary tradition. She shows how much the themes of freedom and individualism, manhood and innocence, depended on the existence of a black population that was manifestly unfree--and that came to serve white authors as embodiments of their own fears and desires. Written with the artistic vision that has earned Toni Morrison a pre-eminent place in modern letters, Playing in the Dark will be avidly read by Morrison admirers as well as by students, critics, and scholars of American literature.

Award-winning novelist Caro De Robertis offers a first-of-its-kind, deeply personal, and moving oral history of a generation of queer and trans elders of color, from leading activists to artists to ordinary citizens to tell their stories of breathtaking courage, cultural innovations, and acts of resistance, all in their own words.So Many Stars knits together the voices of trans, nonbinary, genderqueer and two spirit elders of color as they share authentic, intimate accounts of how they created space for themselves and their communities in the world, how they pursued their passions, and how they continue to be at the vanguard of social change. This singular project collects the testimonies of over a dozen elders, each a glimmering thread in a luminous tapestry, preserving their words for future generations—who can more fully exist in the world today because of these very voices. Award-winning novelist De Robertis creates a collective coming-of-age story based on hundreds of hours of interviews, offering rare snapshots of ordinary kids growing up, navigating family issues and finding community, coming out and changing how they identify over the years, building movements and weathering the AIDS crisis, and sharing wisdom for future generations. Often narrating experiences that took place before they had the array of language that exists today to self-identify and to describe life beyond the gender binary, this generation lived through remarkable changes in American culture, shaped American culture, and yet rarely takes center stage in the history books. Their stories feel particularly urgent in the current political moment, but also remind readers that their experiences are not new. Young trans and nonbinary people of color today belong to a long lineage.   The anecdotes in these pages are riveting, joyful, heartbreaking—so full of life and personality and wisdom, and artfully woven together into one immersive narrative. In De Robertis’s words, So Many Stars shares “behind-the-scenes tales of what it meant—and still means—to create an authentic life, against the odds.”