An unforgettable novel of love and belonging, set in the indie music world of the early 2000s. The only thing Susan loves more than music is Eliza, and both keep breaking her heart. The first time Susan and Eliza meet, it's 2005, and Susan is barreling down the Long Island Expressway driving a group of friends to an indie rock show. Eliza is a surprise addition to the backseat, and she doesn't quite fit in; she's a little too pretty, and she doesn't know anything about music, but Susan is drawn to her anyway. Their flying sparks lead to combustion when Susan recognizes Eliza as the girl from a nude photo boys have been sending around. They part ways, and Susan assumes that’s the end of it. Susan goes off to college and onto a career in Brooklyn's indie music scene, where she navigates a toxic job at a small record label and learns hard lessons about who exactly has the privilege of making art under late-stage capitalism. In 2015, in her twenties, Susan has a chance run-in with Eliza on a dating app, and they finally embark on a relationship. But Eliza is plagued by her traumatic past, which involves people Susan is still involved with, and that's where it all falls apart again. Over the next few years, Susan's career takes off, she helps dismantle a predatory work environment, and meets someone new who might actually be good for her. Yet she can't stop thinking about Eliza. What might have been, if things had gone differently? And who might Susan become if she could only let Eliza go? At once a hilarious-yet-tender coming of age story, a steamy, complicated romance, and an authentic celebration of queer joy, Long Island Girls is for anyone who has ever struggled to stop getting caught up in "what-ifs" and start appreciating what is.

Two founding fathers of American industry. One desire to dominate business at any price.“Masterful . . . Standiford has a way of making the 1890s resonate with a twenty-first-century audience.”— USA Today“The narrative is as absorbing as that of any good novel—and as difficult to put down.”— Miami HeraldThe author of Last Train to Paradise tells the riveting story of Andrew Carnegie, Henry Clay Frick, and the bloody steelworkers’ strike that transformed their fabled partnership into a furious rivalry. Set against the backdrop of the Gilded Age, Meet You in Hell captures the majesty and danger of steel manufacturing, the rough-and-tumble of the business world, and the fraught relationship between “the world’s richest man” and the ruthless coke magnate to whom he entrusted his companies. The result is an extraordinary work of popular history.Praise for Meet You in Hell“To the list of the signal relationships of American history . . . we can add one Andrew Carnegie and Henry Clay Frick . . . The tale is deftly set out by Les Standiford.” — Wall Street Journal“Standiford tells the story with the skills of a novelist . . . a colloquial style that is mindful of William Manchester’s great The Glory and the Dream. ” — Pittsburgh Tribune-Review“A muscular, enthralling read that takes you back to a time when two titans of industry clashed in a battle of wills and egos that had seismic ramifications not only for themselves but for anyone living in the United States, then and now.” —Dennis Lehane, author of Mystic River

Two founding fathers of American industry. One desire to dominate business at any price.“Masterful . . . Standiford has a way of making the 1890s resonate with a twenty-first-century audience.”— USA Today“The narrative is as absorbing as that of any good novel—and as difficult to put down.”— Miami HeraldThe author of Last Train to Paradise tells the riveting story of Andrew Carnegie, Henry Clay Frick, and the bloody steelworkers’ strike that transformed their fabled partnership into a furious rivalry. Set against the backdrop of the Gilded Age, Meet You in Hell captures the majesty and danger of steel manufacturing, the rough-and-tumble of the business world, and the fraught relationship between “the world’s richest man” and the ruthless coke magnate to whom he entrusted his companies. The result is an extraordinary work of popular history.Praise for Meet You in Hell“To the list of the signal relationships of American history . . . we can add one Andrew Carnegie and Henry Clay Frick . . . The tale is deftly set out by Les Standiford.” — Wall Street Journal“Standiford tells the story with the skills of a novelist . . . a colloquial style that is mindful of William Manchester’s great The Glory and the Dream. ” — Pittsburgh Tribune-Review“A muscular, enthralling read that takes you back to a time when two titans of industry clashed in a battle of wills and egos that had seismic ramifications not only for themselves but for anyone living in the United States, then and now.” —Dennis Lehane, author of Mystic River

A revelatory look at one of America's most progressive cities—Minneapolis—as journalist Justin Ellis returns to his hometown to grapple with the quiet history of white supremacy there in the wake of George Floyd’s murder, and in turn uncovers his family’s story of surviving “Minnesota nice.” It’s the “North,” they like to say, not the Midwest. It’s different. We’re nice here, progressive; Minneapolis is a city for everyone. But in 2020, George Floyd’s murder by police left many Americans stunned and wondering, “how could this happen in Minneapolis?” To Ellis, the real question is what made people think it couldn’t? The Minneapolis Justin Ellis knows and loves—where he grew up and his family has lived for generations—is not the idealistic metropolis that its politicians and its most vocal proponents proclaim. The city of lakes was built on discrimination—in its housing, its schools, its politics—much like all other American cities. Black families were systematically cut out of the prosperous neighborhoods, lush parks and pristine lakes that make Minneapolis a haven of the heartland. Because of its image as a liberal ally in the fight for civil rights, Minneapolis has rarely been forced to confront this fact. In reality, as in the rest of America since its founding, the struggles of Black families in Minnesota have been celebrated or erased in an effort to maintain neighborly harmony and the quality of life Minnesotans cherish above all else. The Cruelty of Nice Folks is both an indictment of the false face of progressivism and a love letter to the ways Black life has thrived despite the forces working against it. From the original theft of land upon which Minneapolis was built, through his family’s journey to establish a life there, to George Floyd’s murder, The Cruelty of Nice Folks is about one place—but it’s also about America. It is the story of a racial reckoning deferred, and of an America that remains tethered to the inequalities it has always been unwilling to confront.

A revelatory look at one of America's most progressive cities—Minneapolis—as journalist Justin Ellis returns to his hometown to grapple with the quiet history of white supremacy there in the wake of George Floyd’s murder, and in turn uncovers his family’s story of surviving “Minnesota nice.” It’s the “North,” they like to say, not the Midwest. It’s different. We’re nice here, progressive; Minneapolis is a city for everyone. But in 2020, George Floyd’s murder by police left many Americans stunned and wondering, “how could this happen in Minneapolis?” To Ellis, the real question is what made people think it couldn’t? The Minneapolis Justin Ellis knows and loves—where he grew up and his family has lived for generations—is not the idealistic metropolis that its politicians and its most vocal proponents proclaim. The city of lakes was built on discrimination—in its housing, its schools, its politics—much like all other American cities. Black families were systematically cut out of the prosperous neighborhoods, lush parks and pristine lakes that make Minneapolis a haven of the heartland. Because of its image as a liberal ally in the fight for civil rights, Minneapolis has rarely been forced to confront this fact. In reality, as in the rest of America since its founding, the struggles of Black families in Minnesota have been celebrated or erased in an effort to maintain neighborly harmony and the quality of life Minnesotans cherish above all else. The Cruelty of Nice Folks is both an indictment of the false face of progressivism and a love letter to the ways Black life has thrived despite the forces working against it. From the original theft of land upon which Minneapolis was built, through his family’s journey to establish a life there, to George Floyd’s murder, The Cruelty of Nice Folks is about one place—but it’s also about America. It is the story of a racial reckoning deferred, and of an America that remains tethered to the inequalities it has always been unwilling to confront.

Upper-middle-class white women have long been heralded as “experts” on feminism. They have presided over multinational feminist organizations and written much of what we consider the feminist canon, espousing sexual liberation and satisfaction, LGBTQ inclusion, and racial solidarity, all while branding the language of the movement itself in whiteness and speaking over Black and Brown women in an effort to uphold privilege and perceived cultural superiority. An American Muslim woman, attorney, and political philosopher, Rafia Zakaria champions a reconstruction of feminism in Against White Feminism, centering women of color in this transformative overview and counter-manifesto to white feminism’s global, long-standing affinity with colonial, patriarchal, and white supremacist ideals. Covering such ground as the legacy of the British feminist imperialist savior complex and “the colonial thesis that all reform comes from the West” to the condescension of the white feminist–led “aid industrial complex” and the conflation of sexual liberation as the “sum total of empowerment,” Zakaria follows in the tradition of intersectional feminist forebears Kimberlé Crenshaw, Adrienne Rich, and Audre Lorde. Zakaria ultimately refutes and reimagines the apolitical aspirations of white feminist empowerment in this staggering, radical critique, with Black and Brown feminist thought at the forefront.

Upper-middle-class white women have long been heralded as “experts” on feminism. They have presided over multinational feminist organizations and written much of what we consider the feminist canon, espousing sexual liberation and satisfaction, LGBTQ inclusion, and racial solidarity, all while branding the language of the movement itself in whiteness and speaking over Black and Brown women in an effort to uphold privilege and perceived cultural superiority. An American Muslim woman, attorney, and political philosopher, Rafia Zakaria champions a reconstruction of feminism in Against White Feminism, centering women of color in this transformative overview and counter-manifesto to white feminism’s global, long-standing affinity with colonial, patriarchal, and white supremacist ideals. Covering such ground as the legacy of the British feminist imperialist savior complex and “the colonial thesis that all reform comes from the West” to the condescension of the white feminist–led “aid industrial complex” and the conflation of sexual liberation as the “sum total of empowerment,” Zakaria follows in the tradition of intersectional feminist forebears Kimberlé Crenshaw, Adrienne Rich, and Audre Lorde. Zakaria ultimately refutes and reimagines the apolitical aspirations of white feminist empowerment in this staggering, radical critique, with Black and Brown feminist thought at the forefront.

Written on the Body is a secret code only visible in certain lights: the accumulation of a lifetime gather there. In places the palimpsest is so heavily worked that the letters feel like braille. I like to keep my body rolled away from prying eyes, never unfold too much, tell the whole story. I didn't know that Louise would have reading hands. She has translated me into her own book.

The rules were simple . . . Keep my hands off his daughter and stay out of trouble. But now I’m stuck with her . . . And there’s only one bed . . . Oh well, rules are made -- to be broken . . . aren't they? I’m the face of professional bull riding -- the golden boy. Or at least I was, until it all blew up in my face. Now my agent says I have to clean up my image, so I’m stuck with his ball-busting daughter for the rest of the season as my “full-time supervision.” But I don’t need a goddamn babysitter -- especially one with skin-tight jeans, a sexy smirk, and a mouth she can’t stop running. A mouth I just can’t stop thinking about . . . Because Summer isn’t just another conquest. She sees the man behind the mask, and she doesn’t run -- she pulls me closer, even when she shouldn’t. She says this means nothing -- but I say this means everything. She says there are boundaries we shouldn’t cross. That my reputation can’t take any more hits -- and neither can her damaged heart. I say I’m going to steal it anyway.

The rules were simple . . . Keep my hands off his daughter and stay out of trouble. But now I’m stuck with her . . . And there’s only one bed . . . Oh well, rules are made -- to be broken . . . aren't they? I’m the face of professional bull riding -- the golden boy. Or at least I was, until it all blew up in my face. Now my agent says I have to clean up my image, so I’m stuck with his ball-busting daughter for the rest of the season as my “full-time supervision.” But I don’t need a goddamn babysitter -- especially one with skin-tight jeans, a sexy smirk, and a mouth she can’t stop running. A mouth I just can’t stop thinking about . . . Because Summer isn’t just another conquest. She sees the man behind the mask, and she doesn’t run -- she pulls me closer, even when she shouldn’t. She says this means nothing -- but I say this means everything. She says there are boundaries we shouldn’t cross. That my reputation can’t take any more hits -- and neither can her damaged heart. I say I’m going to steal it anyway.