After her mother died, poet Victoria Chang refused to write elegies. Rather, she distilled her grief during a feverish two weeks by writing scores of poetic obituaries for all she lost in the world. In Obit, Chang writes of "the way memory gets up after someone has died and starts walking." These poems reinvent the form of newspaper obituary to both name what has died ("civility," "language," "the future," "Mother's blue dress") and the cultural impact of death on the living. Whereas elegy attempts to immortalize the dead, an obituary expresses loss, and the love for the dead becomes a conduit for self-expression. In this unflinching and lyrical book, Chang meets her grief and creates a powerful testament for the living.

In this seductive, provocative debut, two Afghan men—cast out of their respective countries of birth by circumstances beyond their control—collide in Istanbul, a city that will test their willingness to sacrifice everything for the ones they love.When Delbar—a hapless twenty-something with dreams of becoming a drag queen—is spectacularly outed, he flees the insular immigrant-dense suburbs of Washington, DC to seek refuge with his sympathetic aunt in Istanbul. There, he discovers a vibrant community of dissidents, sex workers, activists, poets, and heretics. Among them are Leif and his boyfriend, Mansur, with whom Delbar quickly develops a blazing fascination. But Mansur also nurses a wounded heart, having left his own family, and his first love, behind in Iran. This time, Mansur’s learned not to dream bigger than his own survival. He’ll keep a low profile, work hard to send money back, and remain faithful to Leif—at least until his refugee status is granted. When riot police descend on attendees of the annual Istanbul Pride march, Mansur and Delbar are thrust into dangerous proximity. With the country surging into authoritarianism, each person must ask  what constitutes a life well-lived, and how high is the price of freedom? Told through the alternating viewpoints of Delbar and Mansur, Bobuq Sayed’s debut is a story of borders and boundaries transgressed, and a deeply engrossing exploration of what it means to make a home at the margins of society. At once an immigrant family saga, a thwarted love story, and a searing portrait of politics made intimately personal, No God but Us is an ambitious introduction to a bold new voice.

A warm and uplifting novel about an isolated witch whose opportunity to embrace a quirky new family--and a new love--changes the course of her life. As one of the few witches in Britain, Mika Moon knows she has to hide her magic, keep her head down, and stay away from other witches so their powers don't mingle and draw attention. And as an orphan who lost her parents at a young age and was raised by strangers, she's used to being alone and she follows the rules...with one exception: an online account, where she posts videos pretending to be a witch. She thinks no one will take it seriously. But someone does. An unexpected message arrives, begging her to travel to the remote and mysterious Nowhere House to teach three young witches how to control their magic. It breaks all of the rules, but Mika goes anyway, and is immediately tangled up in the lives and secrets of not only her three charges, but also an absent archaeologist, a retired actor, two long-suffering caretakers, and...Jamie. The handsome and prickly librarian of Nowhere House would do anything to protect the children, and as far as he's concerned, a stranger like Mika is a threat. An irritatingly appealing threat. As Mika begins to find her place at Nowhere House, the thought of belonging somewhere begins to feel like a real possibility. But magic isn't the only danger in the world, and when a threat comes knocking at their door, Mika will need to decide whether to risk everything to protect a found family she didn't know she was looking for....

In his controversial essay on white jazz musician Burton Greene, Amiri Baraka asserted that jazz was exclusively an African American art form and explicitly fused the idea of a black aesthetic with radical political traditions of the African diaspora. In the Break is an extended riff on “The Burton Greene Affair,” exploring the tangled relationship between black avant-garde in music and literature in the 1950s and 1960s, the emergence of a distinct form of black cultural nationalism, and the complex engagement with and disavowal of homoeroticism that bridges the two. Fred Moten focuses in particular on the brilliant improvisatory jazz of John Coltrane, Ornette Coleman, Albert Ayler, Eric Dolphy, Charles Mingus, and others, arguing that all black performance—culture, politics, sexuality, identity, and blackness itself—is improvisation. For Moten, improvisation provides a unique epistemological standpoint from which to investigate the provocative connections between black aesthetics and Western philosophy. He engages in a strenuous critical analysis of Western philosophy (Heidegger, Kant, Husserl, Wittgenstein, and Derrida) through the prism of radical black thought and culture. As the critical, lyrical, and disruptive performance of the human, Moten’s concept of blackness also brings such figures as Frederick Douglass and Karl Marx, Cecil Taylor and Samuel R. Delany, Billie Holiday and William Shakespeare into conversation with each other. Stylistically brilliant and challenging, much like the music he writes about, Moten’s wide-ranging discussion embraces a variety of disciplines—semiotics, deconstruction, genre theory, social history, and psychoanalysis—to understand the politicized sexuality, particularly homoeroticism, underpinning black radicalism. In the Break is the inaugural volume in Moten’s ambitious intellectual project-to establish an aesthetic genealogy of the black radical tradition.

Swinging between his wife and his mistress in the sacred and profane love machine and between the charms of morality and the excitements of sin, the psychotherapist, Blaise Gavender, sometimes wishes he could divide himself in two. Instead, he lets loose misery and confusion and—for the spectators at any rate—a morality play, rich in reflections upon the paradoxes of human life and the nature of the battle between sacred and profane love.

An urgent rethinking of the Western approach to mental health, which treats the symptoms rather than the exploitative systems causing our distress—by a Rhodes Scholar and Harvard Medical School physician-anthropologist—offering lessons from the rest of the world. In Empire of Madness, Dr. Khameer Kidia offers a re-evaluation of mental health in the Global North, where the answer to the structural causes of mental distress, like racism and economic inequality, has been to medicate the symptoms rather than revolutionize those causal structures. A clinician and researcher whose own mother suffers from the psychological harm of colonialism, Kidia reports from the front lines of mental health crises at home, in clinical practice and during fieldwork, highlighting the flaws in how we cope with global mental distress. Western psychiatry, which emerged during nineteenth-century colonialism and expanded under neoliberalism, mollifies the effects—depression, anxiety, hunger, poverty—of oppressive structures rather than fixes them. "Burnout" is just one example of mental distress caused by economic and social conditions but disguised as a medical problem. Clear-eyed and open-hearted, Kidia asks the necessary questions that our current mental health system, pharmaceutically-driven and focused on one-size-fits-all solutions, doesn't address. How do history, culture, and politics shape mental distress? Is hoarding a medical problem? Why are the outcomes of schizophrenia sometimes better in places without antipsychotics? Can a Zimbabwean grandmother sitting on a wooden "friendship bench" talk through someone's problems better than a Western-trained therapist? For those living in poverty, can cash replace pills? Empire of Madness sharply intertwines discussions of the colonial origins of psychiatry, the long-lasting and psychological effects of oppression, and the overburdened health professionals striving to heal their patients in rigid, archaic systems to reimagine global mental health as a capacious, inclusive field where our wellbeing is mutual and everyone's voice—patients, caregivers, and health workers alike—matters.

The Martiniquian-born theorist, revolutionary, and psychiatrist Frantz Fanon was a foundational figure in postcolonial thought and practice, and along with Foucault and Lacan, he remains an indispensable thinker on the complex interrelationships of identity, politics, and psychoanalysis. His biographers have always noted that his medical career was not a profession he chose by chance but one that reflected his humanist convictions, yet his psychiatric work has only received sustained attention in recent years - and then only from scholars fluent in French. Now available for the first time in English, the pieces collected here demonstrate in concrete ways how Fanon's conception of a radical psychiatry based in human liberation and self-activity was directly related to his philosophy and politics. They offer specific content for ongoing debates over psychiatry and politics in contemporary society, and together form an essential text for anyone working in postcolonial studies, Fanon studies, history, psychiatry, and politics.