How do powerand beauty join forces to determine who is considered ugly? What role does thatugliness play in fomenting hatred? Moshtari Hilal, anAfghan-born author and artist who lives in Germany, has written a touching,intimate, and highly political book. Dense body hair, crookedteeth, and big Hilal uses a broad cultural lens to question norms ofappearance—ostensibly her own, but in fact, everyone’s. She writes about beautysalons in Kabul as a backdrop to the U.S. invasion of Afghanistan, Darwin’stheory of evolution, Kim Kardashian, and a utopian place in the shadow of hernose. With a profound mix of essay, poetry, her own drawings, and cultural andsocial history of the body, Hilal explores notions of repulsion and attraction,taking the reader into the most personal of realms to put self-image to thetest. Why are we afraid of ugliness?

Philosopher Helena de Bres uses the curious experience of being a twin as a lens for reconsidering our place in the world, with illustrations by her identical twin Julia. Wait, are you you or the other one? Which is the evil twin? Have you ever switched partners? Can you read each other's mind? Twins get asked the weirdest questions by strangers, loved ones, even themselves. For Helena de Bres, a twin and philosophy professor, these questions are closely tied to some of philosophy's most unnerving unknowns. What makes someone themself rather than someone else? Can one person be housed in two bodies? What does perfect love look like? Can we really act freely? At what point does wonder morph into objectification? Accompanied by her twin Julia's drawings, Helena uses twinhood to rethink the limits of personhood, consciousness, love, freedom, and justice. With her inimitably candid, wry voice, she explores the long tradition of twin representations in art, myth, and popular culture; twins' peculiar social standing; and what it's really like to be one of two. With insight, hope, and humor, she argues that our reactions to twins reveal our broader desires and fears about selfhood, fate, and human connection, and that reflecting on twinhood can help each of us-twins and singletons alike-recognize our own multiplicity, and approach life with greater curiosity, imagination, and courage.

‘Groundbreaking … [provides] a deep history of the  invention of the “normal” mind as one of the most  damaging and oppressive tools of capitalism.  To read it is to see the world more clearly’  Steve Silberman, author of  NeuroTribes ‘Argues that a radical politics of neurodiversity  is necessary, not only for neurodivergent folk,  but for our collective liberation’  Professor Hel Spandler, editor,  Asylum magazine ‘A vital book that kindles the flames of a  neurodivergent revolution’  Beatrice Adler-Bolton, co-author of  Health Communism Neurodiversity is on the rise. Awareness and diagnoses have exploded in recent years, but we are still missing a wider understanding of how we got here and why. Beyond simplistic narratives of normativity and difference, this groundbreaking book exposes the very myth of the ‘normal’ brain as a product of intensified capitalism. Exploring the rich histories of the neurodiversity and disability movements, Robert Chapman shows how the rise of capitalism created an ‘empire of normality’ that transformed our understanding of the body into that of a productivity machine. Neurodivergent liberation is possible – but only by challenging the deepest logics of capitalism.  Empire of Normality  is an essential guide to understanding the systems that shape our bodies, minds and deepest selves – and how we can undo them. Robert Chapman  is a neurodivergent philosopher who has taught at King’s College London and Bristol University. They are currently Assistant Professor in Critical Neurodiversity Studies at Durham University. They blog at  Psychology Today  and at  Critical Neurodiversity . 

For the first time, selections from Emily Dickinson's thirty-six year correspondence to her neighbor and sister-in-law, Susan Huntington Dickinson, are compiled in a single volume. Open Me Carefully invites a dramatic new understanding of Emily Dickinson's life and work, overcoming a century of censorship and misinterpretation.For the millions of readers who love Emily Dickinson's poetry, Open Me Carefully brings new light to the meaning of the poet's life and work. Gone is Emily as lonely spinster; here is Dickinson in her own words, passionate and fully alive.

In Naked , a celebrated burlesque performer, sex educator, and social worker bares it all, with incisive and hilarious essays about selling, performing, and consuming desire. Fancy Feast draws back the curtain to reveal a world that most denizens of the daytime never see. Part exclusive backstage pass, part long-form literary striptease, these essays confront our culture’s tightly held beliefs—like so many clutched pearls—about sex, communication, power, and the messiness of life on the margins of respectability. In “Dildo Lady,” Fancy recounts her time compensating for the failures of the American sex education system while working retail at a sex toy store. In “Doing Yourself,” Fancy tackles fatphobia and dating, self-love, and fantasies. In “Yes/No/Maybe,” Fancy brings the reader from sex parties to polyamorous relationships as she contrasts the undeniable sexiness of enthusiastic consent with the devastating effects of miscommunication and entitlement. Fancy Feast does this all as a fat woman who makes a living taking off her clothes—a triumphant punch-back at a culture that wants fat people to be self-hating or sexless. For fans of Lindy West and Melissa Febos, Naked is by turns splashy, vulnerable, and always powerful.  

“There is nothing more alienating than having your pleasures disputed by someone with a theory,” writes Lauren Berlant. Yet the ways in which we live sexuality and intimacy have been profoundly shaped by theories — especially psychoanalytic ones, which have helped to place sexuality and desire at the center of the modern story about what a person is and how her history should be read. At the same time, other modes of explanation have been offered by popular and mass culture. In these domains, sexual desire is not deemed the core story of life; it is mixed up with romance, a particular version of the story of love. In this small theoretical novella-cum-dictionary entry, Lauren Berlant engages love and desire in separate entries. In the first entry, Desire mainly describes the feeling one person has for something else: it is organized by psychoanalytic accounts of attachment, and tells briefly the history of their importance in critical theory and practice. The second entry, on Love, begins with an excursion into fantasy, moving away from the parent-child structure so central to psychoanalysis and looking instead at the centrality of context, environment, and history. The entry on Love describes some workings of romance across personal life and commodity culture, the place where subjects start to think about fantasy on behalf of their actual lives. Whether viewed psychoanalytically, institutionally, or ideologically, love is deemed always an outcome of fantasy. Without fantasy, there would be no love. Desire/Love takes us on a tour of all of the things that sentence might mean.

What if everyone was family? We need to talk about the family. For those who are lucky, families can be places of love and care, but for many they are sites of pain: from abandonment and neglect, to abuse and violence. In this urgent, incisive pamphlet, leaving feminist critic Sophie Lewis introduces the idea of family abolition as a question of universalizing and generalizing the good things about our families. In this short and exhilarating text, Sophie Lewis takes the reader through the various histories of family abolition, from utopian socialists to queer, Black and indigenous feminists and into the future, imagining what life might be like after the family. Radical and utopian as it undeniably is, family abolition is the real movement working to undo the care austerity that fundamentally structures life under racial capitalism. The argument for family abolition has become even clearer under COVID 19 where the myth of the nuclear unit has been seen to be a fiction. We were told to keep a 'social distance' (from everyone... except family). Consequently, those without family were left alone, isolated and abandoned. There is no justice in these rules, which keep loved ones from being with one another, treat children like property, and shore up wealth (or poverty) within a class. What is the alternative?

In this groundbreaking work, Sara Ahmed demonstrates how queer studies can put phenomenology to productive use. Focusing on the “orientation” aspect of “sexual orientation” and the “orient” in “orientalism,” Ahmed examines what it means for bodies to be situated in space and time. Bodies take shape as they move through the world directing themselves toward or away from objects and others. Being “orientated” means feeling at home, knowing where one stands, or having certain objects within reach. Orientations affect what is proximate to the body or what can be reached. A queer phenomenology, Ahmed contends, reveals how social relations are arranged spatially, how queerness disrupts and reorders these relations by not following the accepted paths, and how a politics of disorientation puts other objects within reach, those that might, at first glance, seem awry. Ahmed proposes that a queer phenomenology might investigate not only how the concept of orientation is informed by phenomenology but also the orientation of phenomenology itself. Thus she reflects on the significance of the objects that appear—and those that do not—as signs of orientation in classic phenomenological texts such as Husserl’s Ideas. In developing a queer model of orientations, she combines readings of phenomenological texts—by Husserl, Heidegger, Merleau-Ponty, and Fanon—with insights drawn from queer studies, feminist theory, critical race theory, Marxism, and psychoanalysis. Queer Phenomenology points queer theory in bold new directions.

Last year's impeachment of President Bill Clinton demonstrated the paradox, but did not begin to explain it. How is it that "private matters" are analyzed endlessly in public forums on a daily basis? Why is it assumed that "getting a life" means having a private relationship? Intended to unravel some of the tangled relations that fall under the broad category of "intimacy," this provocative collection of sixteen essays articulates the ways in which intimate lives are connected with the institutions, ideologies, and desires that organize people's worlds. Locating its domain in the familiar spaces of friendship, love, sex, family, and feeling "at home," Intimacy also examines the estrangement, betrayal, loneliness, and even violence that may accompany the demise of relationships, both personal and political. These include intimacies among strangers, such as happens in times of national scandal or habits of everyday life. The contributors to this volume traverse many disciplines and cultures, tracking the processes by which intimate lives absorb and repel the dominant rhetoric, law, ethics, and ideologies of public spheres. Drawing on examples from contemporary culture, history, art, literature, and music, this book illuminates the ways in which intimacy has become linked with stories of citizenship, capitalism, aesthetic forms, and the writing of history. As it challenges conventional notions of private life, Intimacy is sure to spark controversy about its institutions as well. Some of these essays in this book were previously published in an award-winning issue of the journal "Critical Inquiry." Contributors include Lauren Berlant, Svetlana Boym, Steven Feld, Deborah R. Grayson, Michael Hanchard, Dagmar Herzog, Annamarie Jagose, Laura Kipnis, Laura Letinsky, Biddy Martin, Maureen McLane, Mary Poovey, Elizabeth A. Povinelli, Eve Kosovsky Sedgwick, Joel Snyder, Candace Vogler, Michael Warner, and others.

Current opinion always holds asexuality to be invisible. Hence the notion of a happy, gentle, jubilant asexuality is never to be found in any text. Where are we to read it, then? In this revelatory essay-in-fragments, critically acclaimed poet Ryan Fitzpatrick works through the ways in which they have interfaced with a sexual world as an asexual person. Often defined as the orientation of those who don't experience sexual attraction, asexuality is tied to a shared logic wherein our lives are shaped by sex, by romance, by economic and social pressures that determine what a good life looks like. Leaping from the eureka-moment of finding the right words to name an unnameable experience, Ace Theory upends rigid definitions by turning over the pieces of a supposedly broken life. Through intellectual analysis, cultural criticism, and personal reflection, Fitzpatrick tangles with the trenchant knot of compulsory sexuality, putting a squeeze on the many pressures that make asexual people feel like they simply don't fit.

Ninth House meets Legendborn in this thrilling dark academia debut following a new student fueled by questions about her prestigious university and the haunting answers she uncovers as her heart pulls her in two different, dangerous directions. Westfield University was supposed to be Sianna Adu’s dream school. But just when she’s on the cusp of attending the elite academic institution hidden in Virginia’s swampland, an unexpected tragedy changes everything. In one day, Sianna loses her family and gains an extraordinary power—the ability to see lifelines and witness other people’s pasts and futures. With all she’s lost, Sianna puts her college dreams on pause and spends her days navigating dead-end jobs and a not-so-secret crush on her coworker. But when Kasem Saint James, the undeniably handsome heir of Westfield, approaches her with a strange request, the future Sianna has long deferred becomes a dangerous new reality. Worried that her powers are now tied to Kasem, she has no choice. Fate has called her to Westfield. At an academy where secret societies abound, connections are everything, and an ominous history—stretching back centuries—determines the future, Sianna and Kasem must piece together the past to undo a curse that binds them to each other. With a swoony romance and jaw dropping twists, this layered dark academia novel introduces a university where nothing is quite as it seems.