Fifteen beloved authors celebrate the life-changing bond with their canine companions in this heartwarming essay collection edited by New York Times bestselling author and lifelong dog lover Alice Hoffman.Anyone who has ever been fortunate enough to share their life with a dog knows the experience is both profound and transformative. Here, in this charming collection of essays, fifteen celebrated authors share unforgettable tales of the dogs who left their pawprints on their hearts. With contributions from Chris Bohjalian, Roxane Gay, Emily Henry, Ann Leary, Tova Mirvis, Jodi Picoult, Elizabeth Strout, Amy Tan, Adriana Trigiani, Nick Trout, and Laura Zigman, The Dog Who Changed My Life captures the full range of the canine-human connection, from the joy of welcoming a new puppy to the heartache of saying goodbye to a beloved friend. A love letter to the loyal companions who enrich our lives and teach us about empathy, joy, and unconditional love, this anthology is the perfect gift for dog lovers everywhere, offering a blend of laughter, tears, and inspiration that will resonate with anyone who has been fur-ever touched by the love of a dog.

The seals of Shayol Ghul are weak now, and the Dark One reaches out. The Shadow is rising to cover humankind. In Tar Valon, Min sees portents of hideous doom. Will the White Tower itself be broken? In the Two Rivers, the Whitecloaks ride in pursuit of a man with golden eyes, and in pursuit of the Dragon Reborn. In Cantorin, among the Sea Folk, High Lady Suroth plans the return of the Seanchan armies to the mainland. In the Stone of Tear, the Lord Dragon considers his next move. It will be something no one expects, not the Black Ajah, not Tairen nobles, not Aes Sedai, not Egwene or Elayne or Nynaeve. Against the Shadow rising stands the Dragon Reborn.....

Nahri has never believed in magic. Certainly, she has power; on the streets of 18th century Cairo, she’s a con woman of unsurpassed talent. But she knows better than anyone that the trade she uses to get by—palm readings, zars, healings—are all tricks, sleights of hand, learned skills; a means to the delightful end of swindling Ottoman nobles. But when Nahri accidentally summons an equally sly, darkly mysterious djinn warrior to her side during one of her cons, she’s forced to accept that the magical world she thought only existed in childhood stories is real. For the warrior tells her a new tale: across hot, windswept sands teeming with creatures of fire, and rivers where the mythical marid sleep; past ruins of once-magnificent human metropolises, and mountains where the circling hawks are not what they seem, lies Daevabad, the legendary city of brass, a city to which Nahri is irrevocably bound. In that city, behind gilded brass walls laced with enchantments, behind the six gates of the six djinn tribes, old resentments are simmering. And when Nahri decides to enter this world, she learns that true power is fierce and brutal. That magic cannot shield her from the dangerous web of court politics. That even the cleverest of schemes can have deadly consequences. After all, there is a reason they say be careful what you wish for...

Stephen is an ideal child of aristocratic parents—a fencer, a horse rider and a keen scholar. Stephen grows to be a war hero, a bestselling writer and a loyal, protective lover. But Stephen is a woman, and her lovers are women. As her ambitions drive her, and society confines her, Stephen is forced into desperate actions. The Well of Loneliness was banned for obscenity when published in 1928. It became an international bestseller, and for decades was the single most famous lesbian novel. It has influenced how love between women is understood, for the twentieth century and beyond.

Drawing on history, public opinion surveys, and personal experience, Robert P. Jones delivers a provocative examination of the unholy relationship between American Christianity and white supremacy, and issues an urgent call for white Christians to reckon with this legacy for the sake of themselves and the nation.As the nation grapples with demographic changes and the legacy of racism in America, Christianity’s role as a cornerstone of white supremacy has been largely overlooked. But white Christians—from evangelicals in the South to mainline Protestants in the Midwest and Catholics in the Northeast—have not just been complacent or complicit; rather, as the dominant cultural power, they have constructed and sustained a project of protecting white supremacy and opposing black equality that has framed the entire American story. With his family’s 1815 Bible in one hand and contemporary public opinion surveys by Public Religion Research Institute (PRRI) in the other, Robert P. Jones delivers a groundbreaking analysis of the repressed history of the symbiotic relationship between Christianity and white supremacy. White Too Long demonstrates how deeply racist attitudes have become embedded in the DNA of white Christian identity over time and calls for an honest reckoning with a complicated, painful, and even shameful past. Jones challenges white Christians to acknowledge that public apologies are not enough—accepting responsibility for the past requires work toward repair in the present. White Too Long is not an appeal to altruism. Drawing on lessons gleaned from case studies of communities beginning to face these challenges, Jones argues that contemporary white Christians must confront these unsettling truths because this is the only way to salvage the integrity of their faith and their own identities. More broadly, it is no exaggeration to say that not just the future of white Christianity but the outcome of the American experiment is at stake.

A powerful indictment from within of the current state of feminism, and a passionate call to arms From Lilith Fair to Buffy the Vampire Slayer to the WNBA--everywhere you look, girl culture is clearly ascendant. Young women live by feminism's goals, yet feminism itself is undeniably at a crossroads; "girl power" feminists appear to be obsessed with personal empowerment at the expense of politics while political institutions such as Ms . and NOW are so battle weary they've lost their ability to speak to a new generation. In Manifesta , Jennifer Baumgardner and Amy Richards show the snags in each feminist hub--from the dissolution of riot grrrls into the likes of the Spice Girls, to older women's hawking of young girls' imperiled self-esteem, to the hyped hatred of feminist thorns like Katie Roiphe and Naomi Wolf--and prove that these snags have not, in fact, torn feminism asunder. In an intelligent and incendiary argument, Baumgardner and Richards address issues instead of feelings and the political as well as the personal. They describe the seven deadly sins the media commits against feminism, provide keys to accessible and urgent activism, discuss why the ERA is still a relevant and crucial political goal, and spell out what a world with equality would look like. They apply Third Wave confidence to Second Wave consciousness, all the while maintaining that the answer to feminism's problems is still feminism.

Two women, centuries apart--one of whom is the real author of Shakespeare's plays--are both forced to hide behind another name to make their voices heard. In 1581, Emilia Bassano--like most young women of her day--is allowed no voice of her own. But as the Lord Chamberlain's mistress, she has access to all theater in England, and finds a way to bring her work to the stage secretly. And yet, creating some of the world's greatest dramatic masterpieces comes at great cost: by paying a man for the use of his name, she will write her own out of history. In the present, playwright Melina Green has just written a new work inspired by the life of her Elizabethan ancestor Emilia Bassano. Although the challenges are different four hundred years later, the playing field is still not level for women in theater. Would Melina--like Emilia--be willing to forfeit her credit as author, just for a chance to see her work performed? Told in intertwining narratives, this sweeping tale of ambition, courage, and desire asks what price each woman is willing to pay to see their work live on--even if it means they will be forgotten.