How to Read Now explores the politics and ethics of reading, and insists that we are capable of something better: a more engaged relationship not just with our fiction and our art, but with our buried and entangled histories. Smart, funny, galvanizing, and sometimes profane, Castillo attacks the stale questions and less-than-critical proclamations that masquerade as vital discussion: reimagining the cartography of the classics, building a moral case against the settler colonialism of lauded writers like Joan Didion, taking aim at Nobel Prize winners and toppling indie filmmakers, and celebrating glorious moments in everything from popular TV like The Watchmen to the films of Wong Kar-wai and the work of contemporary poets like Tommy Pico. At once a deeply personal and searching history of one woman's reading life, and a wide-ranging and urgent intervention into our globalized conversations about why reading matters today, How to Read Now empowers us to embrace a more complicated, embodied form of reading, inviting us to acknowledge complicated truths, ignite surprising connections, imagine a more daring solidarity, and create space for a riskier intimacy--within ourselves, and with each other.

From the bestselling author of the Kingdom of Lies series comes a slow-burn romantasy set in a Roman-inspired world ruled by merciless vampires. Filled with breathtaking combat, vengeful gods, and magical creatures, We Who Will Die is the epic first installment in an enthralling new series perfect for fans of Carissa Broadbent, Jasmine Mas, and Rebecca Yarros. Life in the perilous Thorn district is a constant battle for Arvelle and her younger brothers. And the vampire standing on her doorstep is about to turn their world upside down. Faced with an unthinkable choice, Arvelle makes a magically binding vow to do the impossible: kill the emperor, an ancient vampire created by the god Umbros. But first, she must enter the Sundering—an arena where only the fastest, strongest, and deadliest survive long enough to be selected for the emperor’s elite guard. She quickly draws the ire of the Primus, the powerful figure charged with protecting the emperor. But the vampire under the armor is the last person Arvelle expects to encounter in the emperor’s court. With her brothers’ lives in the balance, Arvelle has no choice but to ally with the man who once shattered her heart… and with the emperor’s sadistic son, Rorrik—two vampires whose motives are impossible to pin down. Rorrik holds the key to understanding the powers Arvelle is developing—abilities that would put a price on her head if discovered by the emperor. To survive the arena and complete her mission, Arvelle must get to the bottom of a conspiracy that will change everything she thought she knew about herself—and the two vampires who are deeply entwined with her destiny…

How a new “woke” elite uses the language of social justice to gain more power and status—without helping the marginalized and disadvantaged Society has never been more egalitarian—in theory. Prejudice is taboo, and diversity is strongly valued. At the same time, social and economic inequality have exploded. In We Have Never Been Woke, Musa al-Gharbi argues that these trends are closely related, each tied to the rise of a new elite—the symbolic capitalists. In education, media, nonprofits, and beyond, members of this elite work primarily with words, ideas, images, and data, and are very likely to identify as allies of antiracist, feminist, LGBTQ, and other progressive causes. Their dominant ideology is “wokeness” and, while their commitment to equality is sincere, they actively benefit from and perpetuate the inequalities they decry. Indeed, their egalitarian credentials help them gain more power and status, often at the expense of the marginalized and disadvantaged. We Have Never Been Woke details how the language of social justice is increasingly used to justify this elite—and to portray the losers in the knowledge economy as deserving their lot because they think or say the “wrong” things about race, gender, and sexuality. Al-Gharbi’s point is not to accuse symbolic capitalists of hypocrisy or cynicism. Rather, he examines how their genuine beliefs prevent them from recognizing how they contribute to social problems—or how their actions regularly provoke backlash against the social justice causes they champion. A powerful critique, We Have Never Been Woke reveals that only by challenging this elite’s self-serving narratives can we hope to address social and economic inequality effectively.

When Mr. Earnshaw, master of Wuthering Heights, returns from a trip with an unkempt orphan in tow, he announces that the child, Heathcliff, is now a member of the family. While young Catherine Earnshaw becomes close with Heathcliff, her older brother, Hindley, sinks into bitter resentment. As Catherine and Heathcliff mature, and their affection blossoms into desire, Hindley’s resentment boils over into hatred, setting the stage for a tragic drama whose aftermath will shake the foundations of their world.