Rosabelle Wolff had a plan. Now she wants revenge. To save her sister she needs to get back home and destroy the system that created her. Rosabelle’s greatest strength is her ability to deaden her mind and body; it’s the only way to survive the surveillance state of Ark Island. But lately her heart has been beating harder; her thoughts are spiraling; her defenses are coming undone. And there’s only one person to blame. James Anderson had a plan. Now he has nothing but problems. Rosabelle might be the ally they need in a fight against The Reestablishment, but no one wants to trust an enemy assassin. It doesn’t help that Rosabelle’s not much of a talker, doesn’t work well in groups, and kills people on instinct. Taking her side has cost James nearly everything—but keeping her alive might help save his world. If only he could convince his older brother. Aaron Warner Anderson has a headache. Something dark is coming, and Rosabelle’s arrival is just a prelude. In her, he sees shades of himself he can’t trust, and worse: he can no longer get a read on the girl. She’s a dead battery, emanating no emotional feedback. At least not until James walks into a room… Volcanic tension, breathless reveals, breakneck action—and a dystopian world that never stops raising the stakes: Welcome back to The New Republic.

The remarkable story of Sins Invalid, a performance project that centres queer disability justice. In recent years, disability activism has come into its own as a vital and necessary means to acknowledge the power and resilience of the disabled community, and to call out ableist culture wherever it appears. Crip Kinship explores the art activism of Sins Invalid, a San Francisco Bay Area-based performance project, and its radical imaginings of what disabled, queer, trans, and gender-nonconforming bodyminds of colour can do: how they can rewrite oppression, and how they can gift us with transformational lessons for our collective survival. Grounded in the disability justice framework, Crip Kinship investigates the revolutionary survival teachings that disabled, queer of colour community offers to all our bodyminds. From their focus on crip beauty and sexuality to manifesting digital kinship networks and crip-centric liberated zones, Sins Invalid empowers and moves us toward generating our collective liberation from our bodyminds outward.

A powerful memoir that illuminates how we can push against the history of pathologizing those with chronic illness and trauma by fostering queer forms of intimacyThe forms of intimacy and care that we’ve been sold are woefully inadequate and problematic. In a world that treats those who are sick and traumatized as problems in need of a cure, nonbinary writer, artist, educator, and Instagram creator Margeaux Feldman offers a different story.Trauma, which all too often manifests as chronic illness, tells us that there is something deeply wrong with the world we live in. A world that promotes individualism, fractures us from community through violence and systemic oppression, and leaves us traumatized. That is what we need to cure.While unveiling their own lived experiences caregiving for their sick father, losing their mother, surviving sexual abuse, and grappling with their own chronic illness, Feldman provides roadmaps for embracing queer modes of care, or “hysterical intimacies,” that reject the notion that those who have been labeled sick are broken. Feldman looks at the lengthy history of branding girls, women, and femmes–and their desires–as sick, from the treatment of hysterics by Jean-Martin Charcot and Sigmund Freud in the 19th and 20th centuries. What emerges is a valiant call for rethinking the ways we seek healing.This compelling blend of theory, personal narrative, and cultural criticism offers a path forward for reimagining the shapes and forms that intimacy, care, and interdependence can take.

For readers of Susannah Cahalan’s Brain on Fire and Porochista Khakpour’s Sick , this exquisitely wrought debut memoir recounts a lifelong struggle with chronic pain and endometriosis, while speaking more broadly to anyone who’s been told “it’s all in your head” In Catholic grade school, Emma Bolden has a strange experience with a teacher that unleashes a short-lived, persistent coughing spell—something the medical establishment will later use against her as she struggles through chronic pain and fainting spells that coincide with her menstrual cycle. With The Tiger and the Cage , Bolden uses her own experience as the starting point for a journey through the institutional misogyny of Western medicine—from a history of labeling women “hysterical” and parading them as curiosities to a lack of information on causes or cures for endometriosis, despite more than a century of documented cases. Recounting botched surgeries and dire side effects from pharmaceuticals affecting her and countless others, Bolden speaks to the ways people are often failed by the official narratives of institutions meant to protect them. Bolden also interrogates a narrative commonly imposed on menstruating the expected story arc of marriage and children. She interrogates her body as a painful site she must mentally escape and a countdown she hopes to beat by having a child before a hysterectomy. Only later does she find language and acceptance for her asexality and the life she needs to lead. Through all its gripping, devastating, and beautiful threads, The Tiger and the Cage says what Bolden and so many like her have needed to I see you, and I believe you.

On May 2, 1973, Black Panther Assata Shakur (aka JoAnne Chesimard) lay in a hospital, close to death, handcuffed to her bed, while local, state, and federal police attempted to question her about the shootout on the New Jersey Turnpike that had claimed the life of a white state trooper. Long a target of J. Edgar Hoover's campaign to defame, infiltrate, and criminalize Black nationalist organizations and their leaders, Shakur was incarcerated for four years prior to her conviction on flimsy evidence in 1977 as an accomplice to murder. This intensely personal and political autobiography belies the fearsome image of JoAnne Chesimard long projected by the media and the state. With wit and candor, Assata Shakur recounts the experiences that led her to a life of activism and portrays the strengths, weaknesses, and eventual demise of Black and White revolutionary groups at the hand of government officials. The result is a signal contribution to the literature about growing up Black in America that has already taken its place alongside The Autobiography of Malcolm X and the works of Maya Angelou. Two years after her conviction, Assata Shakur escaped from prison. She was given political asylum by Cuba, where she now resides.

A “poignant and swoony” romance about a woman with a rare neurological condition who agrees to fake-date the hot guy in her chronic pain support group—only to discover he’s an Olympic snowboarder whose career-ending injury is as infamous as his dating history (Gigi Griffis, author of The Empress).Your fake relationship shouldn’t come with chronic feelings. Skylar is done with offline relationships—especially romantic ones. Living with chronic illness means she’s heard it all unreliable, high-maintenance, too much. She’d rather spend her free time in her online chronic pain support group, and lately, she can’t help but notice Pike, the hot new guy with a penchant for broody poetry. When a chaotic night in the group forces her to pose as his girlfriend, she reluctantly agrees to keep up the charade in real life. Surprisingly, he’s thoughtful, sweet, and—most importantly—doesn’t flinch at the things that have scared others away. Fake dating gets a lot more complicated when she discovers Pike isn’t just some guy. He’s a professional snowboarder whose career-ending injury is as infamous as his playboy past. He won’t talk about that, though. He’s fine. Really. But pretending to be in love with Skylar turns out to be the least depressing thing he’s done in months. As they spend more time together, she starts to notice the cracks in his carefully crafted image, and for once, he doesn’t mind being seen. After all the bed-sharing and late-night talks, it becomes harder for both of them to pretend. But just as things start turning real, the paparazzi catch on, wanting the scoop on how everyone’s favorite Olympic medalist is doing post-accident. Dating while disabled comes with challenges of its own, but public speculation and invasive questions are something else entirely. If their newfound feelings can’t survive the spotlight, their not-so-fake relationship may be over before it ever truly begins.

In this poignant and humorous work, Virginia Woolf observes that though illness is part of every human being's experience, it has never been the subject of literature—like the more acceptable subjects of war and love. We cannot quote Shakespeare to describe a headache. We must, Woolf says, invent language to describe pain. And though illness enhances our perceptions, she observes that it reduces self-consciousness; it is "the great confessional." Woolf discusses the cultural taboos associated with illness and explores how illness changes the way we read. Poems clarify and astonish, Shakespeare exudes new brilliance, and so does melodramatic fiction! On Being Ill was published as an individual volume by Hogarth Press in 1930. While other Woolf essays, such as A Room of One's Own and Three Guineas, were first published by Hogarth as individual volumes and have since been widely available, On Being Ill has been overlooked. The Paris Press edition features original cover art by Woolf's sister, the painter Vanessa Bell. Hermione Lee's Introduction discusses this extraordinary work, and explores Woolf's revelations about poetry, language, and illness.