Drawing on new archival material, original research, and interviews, this spellbinding book is the first major biography of James Baldwin in three decades, revealing how profoundly his personal relationships shaped his life and work.

Baldwin: A Love Story tells the overlapping stories of Baldwin’s most sustaining intimate and artistic relationships: with his mentor, the Black American painter Beauford Delaney; with his lover and muse, the Swiss painter Lucien Happersberger; and with his collaborators, the famed Turkish actor Engin Cezzar and the iconoclastic French artist Yoran Cazac.

As a civil engineer, Sangamithra Iyer knows about resilience from studying soils and water. As an animal rights activist, she advocates for a revolution in how we value and relate to other species. And as the child of immigrants from India, she searches for submerged histories.

Animated by a series of questions—How do we disentangle ourselves from systems of harm? Is it possible to grasp the scale of planetary sorrow and emerge with truth and love as our guides, rather than despair? What is the relationship between individual action and systemic change?—this memoir takes the form of three meandering rivers, each written as a letter. Addressing the first of them to her grandfather, Iyer assembles the story of a man who embraced Gandhi’s philosophy and went to work developing wells in Tamil Nadu. In a second letter, addressed to her father, she explores their shared interest in cultivating compassion for all beings. And then in a final letter, addressed to readers, she braids these explorations of her familial past with her own experiences as a woman of color and citizen of the world, always seeking ways to move beyond resignation and restore flow.  

A lyrical story of lineages and an urgently needed reckoning with the ways bodies are both controlled and liberated, Governing Bodies is a timeless work with profoundly timely relevance.

A provocative, revelatory history of British Romanticism that examines the impact of the transatlantic slave economy on the lives and times of some of our most beloved poets—with urgent lessons for today.

A scrap of Coleridge’s handwriting. The sugar that Wordsworth stirred into his teacup. A bracelet made of Mary Shelley’s hair. Percy Shelley’s gilded baby rattle. The death mask preserving Keats’s calm face. Byron’s silk-lined leather boot. Who would have known there could be vast worlds contained in these items? In a completely new interpretation of the Romantics and their context, Mathelinda Nabugodi uses these items to frame her interrogation of the poets, leading us on an expansive journey through time and memory, situating us in depth of their world, and her own.

A richly imaginative, powerfully empathetic, and intimate portrait of five remarkable Black men that is also a moving meditation on race, estrangement, and the search for home.

Telling the stories of Ira Aldridge, Matthew Henson, Frantz Fanon, Malcolm X, and Justin Fashanu, Ekow Eshun pushes the boundaries of genre to capture them in all their complexity, interweaving biography, fiction, historical record, and memoir, sharing his own experiences living as a Black Briton in the art world. The Strangers illuminates both the hostility and the beauty each man encountered in the world, positioning them all within a wider landscape of Black art, culture, history, and politics throughout the diaspora.

Adrift in the winter of 2021 after a sudden breakup and the ensuing depression, the novelist Catherine Lacey began cataloguing the wreckage of her life and the beauty of her friendships, a practice that eventually propagated fiction both entirely imagined and strangely true. Betrayed by the mercurial partner she had trusted with a shared mortgage and suddenly catapulted into the unknown, Lacey’s appetite vanished completely, a visceral reminder of the teenage emaciation that came when she stopped believing in God. Through relationships, travel, reading, and memories of her religious fanaticism, Lacey charts the contours of faith’s absence and reemergence. Bending form, she and her characters recall gnostic experiences with animals, close encounters with male anger, grief-driven lust, and the redemptive power of platonic love and narrative itself.

A hybrid work across fiction and nonfiction with no beginning or ending, The Möbius Book troubles the line between memory and fiction with an openhearted defense of faith’s inherent danger.

“There is no good way to say this,” Yiyun Li writes at the beginning of this book.

“There is no good way to state these facts, which must be acknowledged. My husband and I had two children and lost them both: Vincent in 2017, at sixteen, James in 2024, at nineteen. Both chose suicide, and both died not far from home.”

This is a book for James, but it is not a book about grieving or mourning. As Li writes, “The verb that does not die is to be. Vincent was and is and will always be Vincent. James was and is and will always be James. We were and are and will always be their parents. There is no now and then, now and later, only, now and now and now and now.” Things in Nature Merely Grow is a testament to Li’s indomitable spirit.

In Fugitive Tilts, the poet Ishion Hutchinson turns to prose to create an incomplete biography of love: love of poetry, discovered in childhood; love of home, with its continual disconnections and returns; and love of the works and artists—from Treasure Island, to John Coltrane, to the Jamaican music of his youth—that look over him with an angel’s aura.

Drawing inspiration from Derek Walcott’s notion that “the sea is history,” Fugitive Tilts is suffused with the sea, present whether Hutchinson is recalling a trip to Senegal or memorializing his grandmother in a meditation on a painting by Édouard Vuillard. With this fresh, archipelagic sensibility Hutchinson confronts the fraught questions of inheritances and influences, “acknowledging,” in his words, “something outside our view.” These essays, varied in their forms and ranging across time and place, allow Hutchinson to build a space from which the suffering of the past and the present can be reckoned with and survived.

An intimate history of America’s first publicly funded artists’ housing project and its residents that casts light on the precarious place of art-makers in a changing New York. Westbeth Artists Housing was founded in 1970 to provide affordable housing for artists and their families. It occupies a full city block in what back then was one of New York’s less desirable neighborhoods, the desolate far-West Village. Over the next fifty years, the building complex served as a Great Society for bohemians, home at any one time to more than three hundred and eighty creators, who included the pioneering video artist Nam June Paik, jazz great Gil Evans, and the photographer Diane Arbus, who took her life in her apartment in 1971, barely a year after she’d moved in.

Books can seduce you. They can, Sarah Chihaya believes, annihilate, reveal, and provoke you. And anyone incurably obsessed with books understands this kind of unsettling literary encounter. Sarah calls books that have this effect “Life Ruiners”.

Bibliophobia is an alternately searing and darkly humorous story of breakdown and survival told through books. Delving into texts such as Anne of Green Gables, Possession, A Tale for the Time Being, The Last Samurai, Chihaya interrogates her cultural identity, her relationship with depression, and the intoxicating, sometimes painful, ways books push back on those who love them.

To be Native American is to live in a world of contradictions. In The Indian Card, Carrie Lowry Schuettpelz grapples with these contradictions. Through in-depth interviews, archival research, and reckoning with her own identity—the story of her enrollment and the enrollment of her children—she investigates the cultural, racial, and political dynamics of today's Tribal identity policing. With this intimate perspective of the ongoing fight for Native sovereignty, The Indian Card sheds light on what it looks like to find a deeper sense of belonging.