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While her friends are making mad cash and getting massages at their dot-com jobs, Amy Gray quits her low-status publishing position to realize her girlhood dream of being a private investigator. Joining a small Manhattan agency, she finds herself plunged into an intriguing world of “con men, lunatics, narcissists, polygamists, sociopaths, felons, petty thieves, and pathological liars”—a description almost as apt for the men in her social life as for her on-the-job subjects. Working with a gang of misfit colleagues (a former zookeeper, a one-time child star, an avant-garde philosopher, and other eccentrics), Amy discovers even more about herself as she detects uncanny parallels between her investigations and her tumultuous love life.
Finalist for the National Book Award • Finalist for the PEN/Jean Stein Award • Finalist for the National Book Critics Circle Award • Winner of the Los Angeles Times Book Prize • Winner of the Anisfield-Wolf Book Award • Winner of the National Jewish Book Award • Finalist for the Kingsley Tufts Poetry Award • Finalist for the T. S. Eliot Prize • Finalist for the Forward Prize for Best Collection Ilya Kaminsky’s astonishing parable in poems asks us, What is silence? Deaf Republic opens in an occupied country in a time of political unrest. When soldiers breaking up a protest kill a deaf boy, Petya, the gunshot becomes the last thing the citizens hear—they all have gone deaf, and their dissent becomes coordinated by sign language. The story follows the private lives of townspeople encircled by public violence: a newly married couple, Alfonso and Sonya, expecting a child; the brash Momma Galya, instigating the insurgency from her puppet theater; and Galya’s girls, heroically teaching signing by day and by night luring soldiers one by one to their deaths behind the curtain. At once a love story, an elegy, and an urgent plea, Ilya Kaminsky’s long-awaited Deaf Republic confronts our time’s vicious atrocities and our collective silence in the face of them.
FINALIST FOR THE 2021 ANDREW CARNEGIE MEDAL FOR EXCELLENCE IN NONFICTION Claudia Rankine’s Citizen changed the conversation—Just Us urges all of us into it As everyday white supremacy becomes increasingly vocalized with no clear answers at hand, how best might we approach one another? Claudia Rankine, without telling us what to do, urges us to begin the discussions that might open pathways through this divisive and stuck moment in American history. Just Us is an invitation to discover what it takes to stay in the room together, even and especially in breaching the silence, guilt, and violence that follow direct addresses of whiteness. Rankine’s questions disrupt the false comfort of our culture’s liminal and private spaces—the airport, the theater, the dinner party, the voting booth—where neutrality and politeness live on the surface of differing commitments, beliefs, and prejudices as our public and private lives intersect. This brilliant arrangement of essays, poems, and images includes the voices and rebuttals of others: white men in first class responding to, and with, their white male privilege; a friend’s explanation of her infuriating behavior at a play; and women confronting the political currency of dying their hair blond, all running alongside fact-checked notes and commentary that complements Rankine’s own text, complicating notions of authority and who gets the last word. Sometimes wry, often vulnerable, and always prescient, Just Us is Rankine’s most intimate work, less interested in being right than in being true, being together.
1868/1869-1869/1870, 1875/1876 includes the Report of the Board of Trustees of the Soldier's Orphans Home.
“The essential public good that Margaret Thatcher, Tony Blair and now Cameron sell is not power stations, or trains, or hospitals. It’s the public itself. it’s us.” In a little over a generation the bones and sinews of the British economy – rail, energy, water, postal services, municipal housing – have been sold to remote, unaccountable private owners, often from overseas. In a series of brilliant portraits the award-winning novelist and journalist James Meek shows how Britain’s common wealth became private, and the impact it has had on us all: from the growing shortage of housing to spiralling energy bills. Meek explores the human stories behind the incremental privatization of the nation over the last three decades. He shows how, as our national assets are sold, ordinary citizens are handed over to private tax-gatherers, and the greatest burden of taxes shifts to the poorest. In the end, it is not only public enterprises that have become private property, but we ourselves. Urgent, powerfully written and deeply moving, this is a passionate anatomy of the state of the nation: of what we have lost and what losing it cost us – the rent we must pay to exist on this private island.