A riveting, deeply personal account of history in the making—from the president who inspired us to believe in the power of democracy. In the stirring, highly anticipated first volume of his presidential memoirs, Barack Obama tells the story of his improbable odyssey from young man searching for his identity to leader of the free world, describing in strikingly personal detail both his political education and the landmark moments of the first term of his historic presidency—a time of dramatic transformation and turmoil. Obama takes readers on a compelling journey from his earliest political aspirations to the pivotal Iowa caucus victory that demonstrated the power of grassroots activism to the watershed night of November 4, 2008, when he was elected 44th president of the United States, becoming the first African American to hold the nation’s highest office. Reflecting on the presidency, he offers a unique and thoughtful exploration of both the awesome reach and the limits of presidential power, as well as singular insights into the dynamics of U.S. partisan politics and international diplomacy. Obama brings readers inside the Oval Office and the White House Situation Room, and to Moscow, Cairo, Beijing, and points beyond. We are privy to his thoughts as he assembles his cabinet, wrestles with a global financial crisis, takes the measure of Vladimir Putin, overcomes seemingly insurmountable odds to secure passage of the Affordable Care Act, clashes with generals about U.S. strategy in Afghanistan, tackles Wall Street reform, responds to the devastating Deepwater Horizon blowout, and authorizes Operation Neptune’s Spear, which leads to the death of Osama bin Laden. A Promised Land is extraordinarily intimate and introspective—the story of one man’s bet with history, the faith of a community organizer tested on the world stage. Obama is candid about the balancing act of running for office as a Black American, bearing the expectations of a generation buoyed by messages of “hope and change,” and meeting the moral challenges of high-stakes decision-making. He is frank about the forces that opposed him at home and abroad, open about how living in the White House affected his wife and daughters, and unafraid to reveal self-doubt and disappointment. Yet he never wavers from his belief that inside the great, ongoing American experiment, progress is always possible. This beautifully written and powerful book captures Barack Obama’s conviction that democracy is not a gift from on high but something founded on empathy and common understanding and built together, day by day.

From award-winning poet Vanessa Angélica Villarreal comes a brilliant, singular collection of essays that looks to music, fantasy, and pop culture to excavate and reimagine what has been disappeared by the forces of migration and colonialism.   In Magical/Realism, Vanessa Angélica Villarreal offers us an intimate mosaic of migration, violence, and colonial erasure through the lens of her marriage and her experiences navigating American monoculture. As she attempts to recover the truth from the absences and silences within her life, her relationships, and those of her ancestors, Vanessa pieces together her story from the fragments of music, memory, and fantasy that have helped her make sense of it all.    The trauma of remembering gives the collection its unique Each chapter is an attempt to reimagine and re-world what has been lost. In one essay, Vanessa examines the gender performativity of Nirvana and Selena; in another, she offers a radical but crucial racial reading of Jon Snow in Game of Thrones; and throughout the collection, she explores how fantasy can provide healing when grief feels insurmountable. She reflects on the moments of her life that are too painful to remember—her difficult adolescence, her role as the eldest daughter of Mexican immigrants, her divorce—and finds a new way to archive her history and map her future(s), one infused with the hope and joy of fantasy and magical thinking.   By engaging readers in her project of rebuilding narrative, Vanessa broadens our understanding of what memoir and cultural criticism can be. Magical/Realism is a wise, tender, and essential collection that carves a path toward a new way of remembering and telling our stories.

The apocalypse will be televised! A man. His ex-girlfriend's cat. A sadistic game show unlike anything in the universe: a dungeon crawl where survival depends on killing your prey in the most entertaining way possible. In a flash, every human-erected construction on Earth—from Buckingham Palace to the tiniest of sheds—collapses in a heap, sinking into the ground. The buildings and all the people inside have all been atomized and transformed into the dungeon: an 18-level labyrinth filled with traps, monsters, and loot. A dungeon so enormous, it circles the entire globe. Only a few dare venture inside. But once you're in, you can't get out. And what's worse, each level has a time limit. You have but days to find a staircase to the next level down, or it's game over. In this game, it's not about your strength or your dexterity. It's about your followers, your views. Your clout. It's about building an audience and killing those goblins with style. You can't just survive here. You gotta survive big. You gotta fight with vigor, with excitement. You gotta make them stand up and cheer. And if you do have that "it" factor, you may just find yourself with a following. That's the only way to truly survive in this game—with the help of the loot boxes dropped upon you by the generous benefactors watching from across the galaxy. They call it Dungeon Crawler World. But for Carl, it's anything but a game.

From #1 Sunday Times bestselling author Jennifer Niven, a novel about America’s favorite TV family, whose perfect façade starts to crack, for fans of Lessons in Chemistry and The Seven Husbands of Evelyn Hugo.* * *For two decades, Del and Dinah Newman and their sons, Guy and Shep, have ruled television as America’s Favorite Family. Millions of viewers tune in every week to watch them play flawless, black-and-white versions of themselves. But now it’s 1964, and the Newmans’ perfection suddenly feels woefully out of touch. Ratings are in free fall, as are the Newmans themselves. Del is keeping an explosive secret from his wife, and Dinah is slowly going numb—literally. Steady, stable Guy is hiding the truth about his love life, and rock ‘n roll idol Shep may finally be in real trouble.When Del—the creative motor behind the show— is in a mysterious car accident, Dinah decides to take matters into her own hands. She hires Juliet Dunne, an outspoken young reporter, to help her write the final episode. But Dinah and Juliet have wildly different perspectives about what it means to be a woman, and a family, in 1964. Can the Newmans hold it together to change television history? Or will they be canceled before they ever have the chance?Funny, big-hearted, and deeply moving, Meet the Newmans is a rich family story about the dual lives we lead. Because even when our lives aren’t televised weekly, we all have a behind-the-scenes.

Emily Austin, the bestselling “queen of darkly quirky, endearingly flawed heroines” (Sarah Haywood, author of The Cactus), returns with a luminous new novel following a librarian who comes back to work after a mental breakdown only to confront book-banning crusaders in an empowering story of grief, love, and the power of libraries. Darcy’s life turned out better than she could have ever imagined. She is a librarian at the local branch, while her wife Joy runs a book binding service. Between the two of them, there is no more room on their shelves with their ample book collections, various knickknacks and bobbles, and dried bouquets. Rounding out their ideal life is two cats and a sun-soaked house by the lake. But when Darcy receives the news that her ex-boyfriend, Ben, has passed away, she spirals into a pit of guilt and regret, resulting in a mental breakdown and medical leave from the library. When she returns to work, she is met by unrest in her community, and protests surrounding intellectual freedom, resulting in a call for book bans and a second look at the branch’s upcoming DEI programs. Through the support of her community, colleagues, and the personal growth that results from examining her previous relationships, Darcy comes into her own agency and the truest version of herself. Is This a Cry for Help? not only offers a moving portrait of queer life after coming of age but also powerfully explores questions about sexuality, community, and the importance of libraries.

For Ning, the only thing worse than losing her mother is knowing that it's her own fault. She was the one who unknowingly brewed the poison tea that killed her—the poison tea that now threatens to also take her sister, Shu. When Ning hears of a competition to find the kingdom's greatest shennong-shi—masters of the ancient and magical art of tea-making—she travels to the imperial city to compete. The winner will receive a favor from the princess, which may be Ning's only chance to save her sister's life. But between the backstabbing competitors, bloody court politics, and a mysterious (and handsome) boy with a shocking secret, Ning might actually be the one in more danger.

A Room of One's Own is an extended essay by Virginia Woolf. First published on the 24th of October, 1929, the essay was based on a series of lectures she delivered at Newnham College and Girton College, two women's colleges at Cambridge University in October 1928. While this extended essay in fact employs a fictional narrator and narrative to explore women both as writers and characters in fiction, the manuscript for the delivery of the series of lectures, titled Women and Fiction, and hence the essay, are considered nonfiction. The essay is seen as a feminist text, and is noted in its argument for both a literal and figural space for women writers within a literary tradition dominated by patriarchy.

Linus Baker is a by-the-book case worker in the Department in Charge of Magical Youth. He's tasked with determining whether six dangerous magical children are likely to bring about the end of the world. Arthur Parnassus is the master of the orphanage. He would do anything to keep the children safe, even if it means the world will burn. And his secrets will come to light. The House in the Cerulean Sea is an enchanting love story, masterfully told, about the profound experience of discovering an unlikely family in an unexpected place—and realizing that family is yours.

Anzaldua, a Chicana native of Texas, explores in prose and poetry the murky, precarious existence of those living on the frontier between cultures and languages. Writing in a lyrical mixture of Spanish and English that is her unique heritage, she meditates on the condition of Chicanos in Anglo culture, women in Hispanic culture, and lesbians in the straight world. Her essays and poems range over broad territory, moving from the plight of undocumented migrant workers to memories of her grandmother, from Aztec religion to the agony of writing. Anzaldua is a rebellious and willful talent who recognizes that life on the border, "life in the shadows," is vital territory for both literature and civilization. Venting her anger on all oppressors of people who are culturally or sexually different, the author has produced a powerful document that belongs in all collections with emphasis on Hispanic American or feminist issues.

Tiny Moons is a collection of essays about food and belonging. Nina Mingya Powles journeys between Wellington, Kota Kinabalu and Shanghai, tracing the constants in her life: eating and cooking, and the dishes that have come to define her. Through childhood snacks, family feasts, Shanghai street food and student dinners, she attempts to find a way back towards her Chinese-Malaysian heritage.

The Hundred Secret Senses is an exultant novel about China and America, love and loyalty, the identities we invent and the true selves we discover along the way. Olivia Laguni is half-Chinese, but typically American in her uneasiness with her patchwork family. And no one in Olivia's family is more embarrassing to her than her half-sister, Kwan Li. For Kwan speaks mangled English, is cheerfully deaf to Olivia's sarcasm, and sees the dead with her "yin eyes." Even as Olivia details the particulars of her decades-long grudge against her sister (who, among other things, is a source of infuriatingly good advice), Kwan Li is telling her own story, one that sweeps us into the splendor, squalor, and violence of Manchu China. And out of the friction between her narrators, Amy Tan creates a work that illuminates both the present and the past sweetly, sadly, hilariously, with searing and vivid prose.

A Taiwanese American woman’s coming-of-consciousness ignites eye-opening revelations and chaos on a college campus in this outrageously hilarious and startlingly tender debut novel. Twenty-nine-year-old PhD student Ingrid Yang is desperate to finish her dissertation on the late canonical poet Xiao-Wen Chou and never read about “Chinese-y” things again. But after years of grueling research, all she has to show for her efforts are junk food addiction and stomach pain. When she accidentally stumbles upon a curious note in the Chou archives one afternoon, she convinces herself it’s her ticket out of academic hell. But Ingrid’s in much deeper than she thinks. Her clumsy exploits to unravel the note’s message lead to an explosive discovery, upending not only her sheltered life within academia but her entire world beyond it. With her trusty friend Eunice Kim by her side and her rival Vivian Vo hot on her tail, together they set off a roller coaster of mishaps and misadventures, from book burnings and OTC drug hallucinations, to hot-button protests and Yellow Peril 2.0 propaganda. In the aftermath, nothing looks the same to Ingrid—including her gentle and doting fiancé, Stephen Greene. When he embarks on a book tour with the super kawaii Japanese author he’s translated, doubts and insecurities creep in for the first time… As the events Ingrid instigated keep spiraling, she’ll have to confront her sticky relationship to white men and white institutions—and, most of all, herself. For readers of Paul Beatty’s The Sellout and Charles Yu’s Interior Chinatown, this uproarious and bighearted satire is a blistering send-up of privilege and power in America, and a profound reckoning of individual complicity and unspoken rage. In this electrifying debut novel from a provocative new voice, Elaine Hsieh Chou asks who gets to tell our stories—and how the story changes when we finally tell it ourselves.

A wry, tender portrait of a young woman — finally free to decide her own path, but unsure if she knows herself well enough to choose wisely—from a captivating new literary voiceThe plan is to leave. As for how, when, to where, and even why—she doesn’t know yet. So begins a journey for the twenty-four-year-old narrator of Days of Distraction. As a staff writer at a prestigious tech publication, she reports on the achievements of smug Silicon Valley billionaires and start-up bros while her own request for a raise gets bumped from manager to manager. And when her longtime boyfriend, J, decides to move to a quiet upstate New York town for grad school, she sees an excuse to cut and run. Moving is supposed to be a grand gesture of her commitment to J and a way to reshape her sense of self. But in the process, she finds herself facing misgivings about her role in an interracial relationship. Captivated by the stories of her ancestors and other Asian Americans in history, she must confront a question at the core of her identity: What does it mean to exist in a society that does not notice or understand you? Equal parts tender and humorous, and told in spare but powerful prose, Days of Distraction is an offbeat coming-of-adulthood tale, a touching family story, and a razor-sharp appraisal of our times.