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“A vibrant memoir of race, violence, family, and manhood…a virtuosic wail of a book” (The Boston Globe), Survival Math calculates how award-winning author Mitchell S. Jackson survived the Portland, Oregon, of his youth. This “spellbinding” (NPR) book explores gangs and guns, near-death experiences, sex work, masculinity, composite fathers, the concept of “hustle,” and the destructive power of addiction—all framed within the story of Mitchell Jackson, his family, and his community. Lauded for its breathtaking pace, its tender portrayals, its stark candor, and its luminous style, Survival Math reveals on every page the searching intellect and originality of its author. The primary narrative, focused on understanding the antecedents of Jackson’s family’s experience, is complemented by survivor files, which feature photographs and riveting short narratives of several of Jackson’s male relatives. “A vulnerable, sobering look at Jackson’s life and beyond, in all its tragedies, burdens, and faults” (San Francisco Chronicle), the sum of Survival Math’s parts is a highly original whole, one that reflects on the exigencies—over generations—that have shaped the lives of so many disenfranchised Americans. “Both poetic and brutally honest” (Salon), Mitchell S. Jackson’s nonfiction debut is as essential as it is beautiful, as real as it is artful, a singular achievement, not to be missed.
Winner Whiting Writers' Award Winner Ernest J. Gaines Award for Literary Excellence Finalist for the PEN/Hemingway Award for Debut Fiction Finalist for the Flaherty-Dunnan First Novel Prize Finalist for the Hurston/Wright Legacy Award Mitchell S. Jackson grew up black in a neglected neighborhood in America's whitest city, Portland, Oregon. In the '90s, those streets and beyond had fallen under the shadow of crack cocaine and its familiar mayhem. In his commanding autobiographical novel, Mitchell writes what it was to come of age in that time and place, with a break-out voice that's nothing less than extraordinary. The Residue Years switches between the perspectives of a young man, Champ, and his mother, Grace. Grace is just out of a drug treatment program, trying to stay clean and get her kids back. Champ is trying to do right by his mom and younger brothers, and dreams of reclaiming the only home he and his family have ever shared. But selling crack is the only sure way he knows to achieve his dream. In this world of few options and little opportunity, where love is your strength and your weakness, this family fights for family and against what tears one apart. Honest in its portrayal, with cadences that dazzle, The Residue Years signals the arrival of a writer set to awe.
From the row houses of Baltimore to the stoops of Brooklyn, the New York Times bestselling author of The Cook Up lays bare the voices of the most vulnerable and allows their stories to uncover the systematic injustice threaded within our society. Honest and eye-opening, the pages of We Speak for Ourselves “are abundant with wisdom and wit; integrity and love, not to mention enough laughs for a stand-up comedy routine” (Mitchell S. Jackson, author of Survival Math). Watkins introduces you to Down Bottom, the storied community of East Baltimore that holds a mirror to America’s poor black neighborhoods—“hoods” that could just as easily be in Chicago, Detroit, Oakland, or Atlanta. As Watkins sees it, the perspective of people who live in economically disadvantaged black communities is largely absent from the commentary of many top intellectuals who speak and write about race. Unapologetic and sharp-witted, D. Watkins is here to tell the truth as he has seen it. We Speak for Ourselves offers an in-depth analysis of inner-city hurdles and honors the stories therein. We sit in underfunded schools, walk the blocks burdened with police corruption, stand within an audience of Make America Great Again hats, journey from trap house to university lecture, and rally in neglected streets. And we listen. “Watkins has come to remind us, everyone deserves the opportunity to speak for themselves” (Jason Reynolds, New York Times bestselling author) and serves hope to fellow Americans who are too often ignored and calling on others to examine what it means to be a model activist in today’s world. We Speak for Ourselves is a must-read for all who are committed to social change.
From the Pulitzer Finalist and universally beloved author of the New York Times best sellers Swamplandia! and Vampires in the Lemon Grove, a stunning new collection of short fiction that showcases Karen Russell’s extraordinary, irresistible gifts of language and imagination. Karen Russell’s comedic genius and mesmerizing talent for creating outlandish predicaments that uncannily mirror our inner in lives is on full display in these eight exuberant, arrestingly vivid, unforgettable stories. In“Bog Girl”, a revelatory story about first love, a young man falls in love with a two thousand year old girl that he’s extracted from a mass of peat in a Northern European bog. In “The Prospectors,” two opportunistic young women fleeing the depression strike out for new territory, and find themselves fighting for their lives. In the brilliant, hilarious title story, a new mother desperate to ensure her infant’s safety strikes a diabolical deal, agreeing to breastfeed the devil in exchange for his protection. The landscape in which these stories unfold is a feral, slippery, purgatorial space, bracketed by the void—yet within it Russell captures the exquisite beauty and tenderness of ordinary life. Orange World is a miracle of storytelling from a true modern master.
Winner of the NAACP Image Award and finalist for the 2019 Los Angeles Times Book Prize “A powerful work of lyric art.” —New York Times Book Review, Editors’ Choice In fierce, agile poems, Felon tells the story of the effects of incarceration—canvassing a wide range of emotions and experiences through homelessness, underemployment, love, drug abuse, domestic violence, fatherhood, and grace—and, in doing so, creates a travelogue for an imagined life. Reginald Dwayne Betts confronts the funk of post-incarceration existence in traditional and newfound forms, from revolutionary found poems created by redacting court documents to the astonishing crown of sonnets that serves as the volume’s radiant conclusion.
In the tradition of The Glass Castle, a deeply felt memoir from Whiting Award–winner Nadia Owusu about the push and pull of belonging, the seismic emotional toll of family secrets, and the heart it takes to pull through. A Most-Anticipated Selection by * The New York Times * Entertainment Weekly * O, The Oprah Magazine * New York magazine * Vogue * Time * Elle * Minneapolis Star Tribune * Electric Literature * Goodreads * The Millions *Refinery29 * HelloGiggles * Young Nadia Owusu followed her father, a United Nations official, from Europe to Africa and back again. Just as she and her family settled into a new home, her father would tell them it was time to say their goodbyes. The instability wrought by Nadia’s nomadic childhood was deepened by family secrets and fractures, both lived and inherited. Her Armenian American mother, who abandoned Nadia when she was two, would periodically reappear, only to vanish again. Her father, a Ghanaian, the great hero of her life, died when she was thirteen. After his passing, Nadia’s stepmother weighed her down with a revelation that was either a bombshell secret or a lie, rife with shaming innuendo. With these and other ruptures, Nadia arrived in New York as a young woman feeling stateless, motherless, and uncertain about her future, yet eager to find her own identity. What followed, however, were periods of depression in which she struggled to hold herself and her siblings together. Aftershocks is the way she hauled herself from the wreckage of her life’s perpetual quaking, the means by which she has finally come to understand that the only ground firm enough to count on is the one written into existence by her own hand. Heralding a dazzling new writer, Aftershocks joins the likes of Don’t Let’s Go to the Dogs Tonight and William Styron’s Darkness Visible, and does for race identity what Maggie Nelson does for gender identity in The Argonauts.
Named a Best Book of 2020 by NPR and Lit Hub. A Los Angeles Times Bestseller. A New York Times Book Review Editors' Choice "In The Cactus League [Emily Nemens] provides her readers with what amounts to a miniature, self-enclosed world that is funny and poignant and lovingly observed." --Charles McGrath, The New York Times Book Review An explosive, character-driven odyssey through the world of baseball Jason Goodyear is the star outfielder for the Los Angeles Lions, stationed with the rest of his team in the punishingly hot Arizona desert for their annual spring training. Handsome, famous, and talented, Goodyear is nonetheless coming apart at the seams. And the coaches, writers, wives, girlfriends, petty criminals, and diehard fans following his every move are eager to find out why—as they hide secrets of their own. Humming with the energy of a ballpark before the first pitch, Emily Nemens's The Cactus League unravels the tightly connected web of people behind a seemingly linear game. Narrated by a sportscaster, Goodyear’s story is interspersed with tales of Michael Taylor, a batting coach trying to stay relevant; Tamara Rowland, a resourceful spring-training paramour, looking for one last catch; Herb Allison, a legendary sports agent grappling with his decline; and a plethora of other richly drawn characters, all striving to be seen as the season approaches. It’s a journey that, like the Arizona desert, brims with both possibility and destruction. Anchored by an expert knowledge of baseball’s inner workings, Emily Nemens's The Cactus League is a propulsive and deeply human debut that captures a strange desert world that is both exciting and unforgiving, where the most crucial games are the ones played off the field.
An unflinching memoir from a writer reckoning with his relationship with his troubled father and the complicated legacy that each generation hands down to the next “Justin Taylor’s relentless, peripatetic, and tender search for reconciliation with his late troubled father blooms into a full-throated song of joy about his own life lived through music, teaching, travel, and literature.”—Lauren Groff, author of Florida NAMED ONE OF THE BEST BOOKS OF THE YEAR BY KIRKUS REVIEWS When Justin Taylor was thirty, his father, Larry, drove to the top of the Nashville airport parking garage to take his own life. Thanks to the intervention of family members, he was not successful, but the incident forever transformed how Taylor thinks of his father, and how he thinks of himself as a son. Moving back and forth in time from that day, Riding with the Ghost captures the past’s power to shape, strengthen, and distort our visions of ourselves and one another. We see Larry as the middle child in a chilly Long Island family; as a beloved Little League coach who listens to kids with patience and curiosity; as an unemployed father struggling to keep his marriage together while battling long-term illness and depression. At the same time, Taylor explores how the work of confronting a family member’s story forces a reckoning with your own. We see Taylor as a teacher, modeling himself after his dad’s best qualities; as a caregiver, attempting to provide his father with emotional and financial support, but not always succeeding; as a new husband, with a dawning awareness of his own depressive tendencies. With raw intimacy, Riding with the Ghost lays bare the joys and burdens of loving a troubled family member. It’s a memoir about fathers and sons, teachers and students, faith and illness, and the pieces of our loved ones that we carry with us always.
Please note: This is a companion version & not the original book. Sample Book Insights: #1 I once had to drive a friend to his apartment to sweep for drugs, which I did not find very amusing. I was convinced the police would ambush us at any moment. #2 One day, I was hanging out with my friend Brother A when police burst into his apartment and arrested him. I was taken into the bedroom and searched, but nothing was found on me. The next day, police came to my house and arrested me for selling drugs. #3 The west exodus of my tribe, the Jacksons, began in the 1950s in Montgomery, Alabama. It demanded envisioning a world beyond the one that had been constricted. It required believing I could thrive outside of where I was born. #4 The Jacksons were not a wealthy tribe. My great-grandfather Samuel Bubba Andrew Jackson Sr. was born in 1908 in Ada, Alabama. He married his first wife, Lillian Dora Arrington, and supported her and his son by selling shoes and Watkins products door-to-door. He moved to Portland with his second wife, Mama Edie, in 1958.
One of the Must-Read Books of 2019 According to O: The Oprah Magazine * Time * Bustle * Electric Literature * Publishers Weekly * The Millions * The Week * Good Housekeeping “There is more life packed on each page of Ordinary Girls than some lives hold in a lifetime.” —Julia Alvarez In this searing memoir, Jaquira Díaz writes fiercely and eloquently of her challenging girlhood and triumphant coming of age. While growing up in housing projects in Puerto Rico and Miami Beach, Díaz found herself caught between extremes. As her family split apart and her mother battled schizophrenia, she was supported by the love of her friends. As she longed for a family and home, her life was upended by violence. As she celebrated her Puerto Rican culture, she couldn’t find support for her burgeoning sexual identity. From her own struggles with depression and sexual assault to Puerto Rico’s history of colonialism, every page of Ordinary Girls vibrates with music and lyricism. Díaz writes with raw and refreshing honesty, triumphantly mapping a way out of despair toward love and hope to become her version of the girl she always wanted to be. Reminiscent of Tara Westover’s Educated, Kiese Laymon’s Heavy, Mary Karr’s The Liars’ Club, and Terese Marie Mailhot’s Heart Berries, Jaquira Díaz’s memoir provides a vivid portrait of a life lived in (and beyond) the borders of Puerto Rico and its complicated history—and reads as electrically as a novel.