Zillah’s twenty-three and stuck. She’s stuck living with her quirky mother, stuck with a diet of ten toddler-approved foods, and stuck in a relationship with a man who thinks sharks are immortal. Zillah desperately wants to move out on her own, but first she needs to prove she’s brave enough and that her mom won’t self-destruct. Things change when she secretly listens to her neighbor’s exposure therapy and decides to DIY her own mental health. But her first therapy experiment accidentally injures her mom, and life gets even stranger when she befriends the neighbor she’s been spying on. Zillah gets to see the power of leaning into fear up close. But she also topples her carefully constructed home life, questions the “facts” of her childhood, and risks her mother’s stability as long-buried truths start to unravel. Zillah must decide who she wants to be and what she’s willing to leave behind. Tender, funny, and full of nervy optimism, PICKY celebrates the courage it takes to reject the meal you were handed and instead choose from the buffet.

JOURNALIST KOA BECK’S AMBITIOUS HARVARD RESEARCH-BASED DEEP DIVE INTI HOW FEMINISM HAS BEEN COMMODIFIED AND RACIALIZED—AND THE REVOLUTIONARY WAY OF THINKING THAT COULD DRIVE A NEW MOVEMENT Fourth-wave feminism preaches empowerment for women, centering an intersectionality that has been missing from the start. Long before the Lean In phenomenon and branded empowerment conferences, women have been encouraged to “find their power” and to “know their value” when combatting institutional sexism. But we’ve also funded patriarchal institutions that have cashed in on “feminism” without actually making a real difference in the lives of the women they supposedly uplift. From the formation of the suffragette movement over a century ago to the Women’s March in 2017, mainstream feminism has been defined by parameters dictated and sanctioned by the white women they most benefit. In White Feminism, Koa Beck details the conventions that marginalized genders have needed to adopt in order to be recognized and exposes how Indigenous, Black, brown, transgender, disabled, and undocumented women, among other disenfranchised peoples, have been overlooked in order to champion a different feminist narrative. With insights spanning from the rise of girl bosses to widespread civil unrest during a global pandemic, Beck illuminates how white feminism adheres to a political strategy that commercializes struggle and reinforces white Western supremacy. Combining her quick-witted, cutting commentary with methodical historical research, Beck pulls from years of experience in the media industry to highlight the extent of racial prejudice, elitism, and privilege that fuels the dominant feminist discourse. She delivers a call to action that urges readers to reinvent the narrow feminist ideas that have become staples in modern gender politics, asking readers to join her in scrutinizing the capitalist, individualist, and heteronormative paradigms under which white feminism operates. In this wide-ranging analysis of the dangers of homogenizing the global feminist experience, Beck advocates for a new landscape that accounts for visibility and inclusivity.

In a corporate-dominated spacefaring future, planetary missions must be approved and supplied by the Company. Exploratory teams are accompanied by Company-supplied security androids, for their own safety. But in a society where contracts are awarded to the lowest bidder, safety isn’t a primary concern. On a distant planet, a team of scientists are conducting surface tests, shadowed by their Company-supplied ‘droid — a self-aware SecUnit that has hacked its own governor module, and refers to itself (though never out loud) as “Murderbot.” Scornful of humans, all it really wants is to be left alone long enough to figure out who it is. But when a neighboring mission goes dark, it's up to the scientists and their Murderbot to get to the truth.

Zillah’s twenty-three and stuck. She’s stuck living with her quirky mother, stuck with a diet of ten toddler-approved foods, and stuck in a relationship with a man who thinks sharks are immortal. Zillah desperately wants to move out on her own, but first she needs to prove she’s brave enough and that her mom won’t self-destruct. Things change when she secretly listens to her neighbor’s exposure therapy and decides to DIY her own mental health. But her first therapy experiment accidentally injures her mom, and life gets even stranger when she befriends the neighbor she’s been spying on. Zillah gets to see the power of leaning into fear up close. But she also topples her carefully constructed home life, questions the “facts” of her childhood, and risks her mother’s stability as long-buried truths start to unravel. Zillah must decide who she wants to be and what she’s willing to leave behind. Tender, funny, and full of nervy optimism, PICKY celebrates the courage it takes to reject the meal you were handed and instead choose from the buffet.

In a corporate-dominated spacefaring future, planetary missions must be approved and supplied by the Company. Exploratory teams are accompanied by Company-supplied security androids, for their own safety. But in a society where contracts are awarded to the lowest bidder, safety isn’t a primary concern. On a distant planet, a team of scientists are conducting surface tests, shadowed by their Company-supplied ‘droid — a self-aware SecUnit that has hacked its own governor module, and refers to itself (though never out loud) as “Murderbot.” Scornful of humans, all it really wants is to be left alone long enough to figure out who it is. But when a neighboring mission goes dark, it's up to the scientists and their Murderbot to get to the truth.

Before. Miles “Pudge” Halter is done with his safe life at home. His whole life has been one big non-event, and his obsession with famous last words has only made him crave “the Great Perhaps” even more (Francois Rabelais, poet). He heads off to the sometimes crazy and anything-but-boring world of Culver Creek Boarding School, and his life becomes the opposite of safe. Because down the hall is Alaska Young. The gorgeous, clever, funny, sexy, self-destructive, screwed up, and utterly fascinating Alaska Young. She is an event unto herself. She pulls Pudge into her world, launches him into the Great Perhaps, and steals his heart. Then. . . . After. Nothing is ever the same.

From the #1 New York Times bestselling author of Braiding Sweetgrass, a bold and inspiring vision for how to orient our lives around gratitude, reciprocity, and community, based on the lessons of the natural world.As indigenous scientist and author of Braiding Sweetgrass Robin Wall Kimmerer harvests serviceberries alongside the birds, she considers the ethic of reciprocity that lies at the heart of the gift economy. How, she asks, can we learn from indigenous wisdom and the plant world to reimagine what we value most? Our economy is rooted in scarcity, competition, and the hoarding of resources, and we have surrendered our values to a system that actively harms what we love. Meanwhile, the serviceberry’s relationship with the natural world is an embodiment of reciprocity, interconnectedness, and gratitude. The tree distributes its wealth—its abundance of sweet, juicy berries—to meet the needs of its natural community. And this distribution insures its own survival. As Kimmerer explains, “Serviceberries show us another model, one based upon reciprocity, where wealth comes from the quality of your relationships, not from the illusion of self-sufficiency.” As Elizabeth Gilbert writes, Robin Wall Kimmerer is “a great teacher, and her words are a hymn of love to the world.” The Serviceberry is an antidote to the broken relationships and misguided goals of our times, and a reminder that “hoarding won’t save us, all flourishing is mutual.”

Before. Miles “Pudge” Halter is done with his safe life at home. His whole life has been one big non-event, and his obsession with famous last words has only made him crave “the Great Perhaps” even more (Francois Rabelais, poet). He heads off to the sometimes crazy and anything-but-boring world of Culver Creek Boarding School, and his life becomes the opposite of safe. Because down the hall is Alaska Young. The gorgeous, clever, funny, sexy, self-destructive, screwed up, and utterly fascinating Alaska Young. She is an event unto herself. She pulls Pudge into her world, launches him into the Great Perhaps, and steals his heart. Then. . . . After. Nothing is ever the same.

The Hacienda by Isabel Cañas meets “Sister Wives” in a deliciously chilling, darkly romantic, historical gothic horror with a feminist slant, as a young Mormon woman is haunted by a malevolent presence in the decrepit Salt Lake City mansion she shares with her new husband and his other wives… Hazel Russon’s life in 1879 Utah territory is defined by three the Mormon church, polygamy, and the men who control both. She knows she’s supposed to suppress her sinful dreams of a monogamous life with her sweetheart, and her desire for the freedom to play her beloved piano. Every Mormon woman’s duty is to live obediently and meekly, devoted to her husband and her calling as a sister wife. Her eternal salvation depends upon it. Commanded to become the fourth wife of a man she’s never met, Hazel is relieved that Jacob Manwaring is attentive and handsome. However, she is shocked to discover that instead of living separately as is custom, all of Jacob’s wives and children live in the same house—a large, dilapidated manor that inexplicably fills Hazel with dread.  Despite Jacob’s tenderness, Hazel senses dark secrets and resentments among her sister wives. She hears strange music, sees blood oozing from the very walls, and glimpses apparitions that grow more terrifying every day. And as her nightmares worsen, Hazel can’t be sure if she has more to fear from the living—including her mysterious husband—or from a sinister presence that seems to animate the house itself . . . Drawing on little-known Mormon folklore and the author’s own polygamous ancestors, this fascinating, suspense-filled historical novel debut is by turns darkly romantic, spine-tingling, and wholly unforgettable.

A haunting Orwellian novel about the terrors of state surveillance, from the acclaimed author of The Housekeeper and the Professor. On an unnamed island off an unnamed coast, objects are disappearing: first hats, then ribbons, birds, roses--until things become much more serious. Most of the island's inhabitants are oblivious to these changes, while those few imbued with the power to recall the lost objects live in fear of the draconian Memory Police, who are committed to ensuring that what has disappeared remains forgotten. When a young woman who is struggling to maintain her career as a novelist discovers that her editor is in danger from the Memory Police, she concocts a plan to hide him beneath her floorboards. As fear and loss close in around them, they cling to her writing as the last way of preserving the past. A surreal, provocative fable about the power of memory and the trauma of loss, The Memory Police is a stunning new work from one of the most exciting contemporary authors writing in any language.