One day, the mother was a mother but then, one night, she was quite suddenly something else... At home full-time with her two-year-old son, an artist finds she is struggling. She is lonely and exhausted. She had imagined - what was it she had imagined? Her husband, always travelling for his work, calls her from faraway hotel rooms. One more toddler bedtime, and she fears she might lose her mind. Instead, quite suddenly, she starts gaining things, surprising things that happen one night when her child will not sleep. Sharper canines. Strange new patches of hair. New appetites, new instincts. And from deep within herself, a new voice... With its clear eyes on contemporary womanhood and sharp take on structures of power, Nightbitch is an outrageously original, joyfully subversive read that will make you want to howl in laughter and recognition. Addictive enough to be devoured in one sitting, this is an unforgettable novel from a blazing new talent.

A look at the history and myth of the objective journalist and how this ideal has been used to silence marginalized voices.  In The View from Somewhere , Lewis Raven Wallace dives deep into the history of “objectivity” in journalism and how its been used to gatekeep and silence marginalized writers as far back as Ida B. Wells. At its core, this is a book about fierce journalists who have pursued truth and transparency and sometimes been punished for it—not just by tyrannical governments but by journalistic institutions themselves. He highlights the stories of journalists who question “objectivity” with sensitivity and Desmond Cole of the Toronto Star ; New York Times reporter Linda Greenhouse; Pulitzer Prize-winner Rachel Kaadzi Ghansah; Peabody-winning podcaster John Biewen; Guardian correspondent Gary Younge; former Buzzfeed reporter Meredith Talusan; and many others. Wallace also shares his own experiences as a midwestern transgender journalist and activist who was fired from his job as a national reporter for public radio for speaking out against “objectivity” in coverage of Trump and white supremacy.    With insightful steps through history, Wallace stresses that journalists have never been mere passive observers. Using historical and contemporary examples—from lynching in the nineteenth century to transgender issues in the twenty-first—Wallace offers a definitive critique of “objectivity” as a catchall for accurate journalism. He calls for the dismissal of this damaging mythology in order to confront the realities of institutional power, racism, and other forms of oppression and exploitation in the news industry.   The View from Somewhere is a compelling rallying cry against journalist neutrality and for the validity of news told from distinctly subjective voices.  

An accessible exploration into how we can use trauma psychology to unravel and transform our harmful beliefs In Radical Unlearning, journalist and transgender antiracist activist Lewis Raven Wallace argues that breaking out of the frameworks of thought and behavior we’ve been taught in our formative years is possible. But what does it take to let go of our most deeply held beliefs and ideologies? Radical Unlearning explores the many pathways by which people free themselves from feedback loops in their daily lives that are dangerous, supremacist, or simply no longer serve them. Focusing on the stories of people who have unlearned harmful paths of self-reflection, each chapter approaches an interviewee about what conditions made their own transformations possible. Many interviewees refer to practices rooted in the concept of neuroplasticity—the ability to change what and how we think, enabling us to build new capacities and behaviors throughout our lives. Wallace unpacks the latest developments in neuropsychology as they relate to responding to trauma, politicized somatics, and social justice and community organizing. He learns about his grandmother’s struggle to unlearn racism and transphobia late in life; his colleagues and collaborators in organizing and journalism; his comrades in prison; and people with extreme stories of unlearning, including a former white nationalist who is now a trans antiracist, and a former Israeli soldier who now a radical antizionist. Interspersed with these testimonies are discussion questions and exercises to guide readers on their own journey of radical unlearning. Wallace ultimately discovers the key to unlearning lies in community. In order to fight for collective liberation, we must embrace unlearning as a collective practice available to all.

A revolutionary feminist case for child liberation, a utopian project that helps us imagine ways to build insurgent, collective forms of care. We live in a world that is profoundly against children—evident in the genocide in Palestine, the fascist targeting of trans children, and the blatant disregard for the lives of migrant children crossing borders and oceans. It is a world in which climate catastrophe has become the new normal, in which children’s futures are by no means assured.What we need, feminist writer and scholar Madeline Lane-McKinely argues, is a politics of solidarity with children, one that sees children as comrades in our struggle for a better future. Blending personal and political reflection with cultural analysis, Lane-McKinley examines the history of childhood as a system of private property in capitalism, showing how the idea of the child has been weaponized in the service of white supremacy and empire. She disentangles motherhood from the act of caregiving, tracing the possibilities of revolutionary mothering. And she critiques the parents’ rights movement and imagines what education might look like outside schools, considering how we might center children as we challenge the strictures of the nuclear family. Elegantly written and provocative, Solidarity with Children is a book for anyone who cares about children and the struggle for a better world.

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.

A Queer History of Adolescence reveals categories of age―and adolescence, specifically―as an undeniable and essential mechanism in the production of difference itself. Drawing from a dynamic and varied archive, including British and American newspapers, medical papers and pamphlets, and adolescent and children’s literature circulating on both sides of the Atlantic, Gabrielle Owen argues that adolescence has a logic, a way of thinking, that emerges over the course of the nineteenth century and that survives in various forms to this day. This logic makes the idea of adolescence possible and naturalizes our historically specific ways of conceptualizing time, development, social hierarchy, and the self. Rich in intersectional analysis, this book offers a multifaceted and historicized theory for categories of age that challenges existing methodologies for studying the people called children and adolescents. Rather than offering critique as an end in and of itself, A Queer History of Adolescence imagines the world-making possibilities that critique enables and, in so doing, shines a necessary light on the question of relationality in the lived world. Owen exposes the profound presence of history in our current moment in order to transform the habits of mind shaping age relations, social hierarchy, and the politics of identity today.

This breathtaking, page-turning graphic novel is a supernatural survival story in which a grieving teen finds himself in a haunting alternate reality—the frightening embodiment of his depression.Theo’s best friend has died, and he can’t pull himself out of his sadness—a sadness that those around him don’t seem to respect or even notice. And then something even more disconcerting His town literally flips upside down and everyone disappears, except for a threatening, shape-shifting monster and a snarky teenage girl who knows her way around this flipped world. Is Theo doomed to spend the rest of his life in this scary state?Tremendously unique and suspenseful, The Flip Side tackles grief and depression in a fascinating and affecting way.