For fans of Wild, a searing memoir about one woman’s road to hope following the death of her troubled brother, told through the series of cars that accompanied her.
Growing up in a blue-collar family in the Midwest, Melissa Stephenson longed for escape. Her wanderlust was an innate reaction to the powerful personalities around her, and came too from her desire to find a place in the world where her artistic ambitions wouldn’t be thwarted. She found in automobiles the promise of a future beyond Indiana state lines.
From a lineage of secondhand family cars of the late ’60s,
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From a dazzling new literary voice, a debut memoir about a young woman learning to dance tango, becoming comfortable in her own skin and in the arms of others
Tango was an unlikely choice for Meghan Flaherty. A young woman living with the scars of past trauma, she was terrified of being touched and shied away from real passion. But by her late twenties, she knew something had to change. She dug up an old dream and tried on her dancing shoes.
In tango, there’s a leader and a follower, and, traditionally, the woman follows.
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Fatherhood caught David McGlynn by surprise. His sons arrived in quick succession—the first when the author was a dirt-poor student and the second not long after he’d moved his family across the country to start a new job in bucolic Wisconsin. As a result, McGlynn found himself colliding with fatherhood, at once scared to death and utterly thrilled. Just like many new fathers, he hopes he’s doing the right thing—but he’s never quite sure.
One Day You’ll Thank Me translates the small, often hilarious moments common among parents of young children, especially dads, into “life lessons” about fatherhood.
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A prophetic memoir by the activist who “articulated the intellectual foundations” (The New Yorker) of the civil rights and women’s rights movements.
Poet, memoirist, labor organizer, and Episcopal priest, Pauli Murray helped transform the law of the land. Arrested in 1940 for sitting in the whites-only section of a Virginia bus, Murray propelled that life-defining event into a Howard law degree and a fight against “Jane Crow” sexism. Her legal brilliance was pivotal to the overturning of Plessy v. Ferguson, the success of Brown v. Board of Education,
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A “searingly honest self-exploration” (New York Times) of the experience and psyche of the Asian American male, including Tizon’s stunning final article, “My Family’s Slave”
Shame, Alex Tizon tells us, is universal—his own happened to be about race. To counteract the steady diet of American television and movies that taught Tizon to be ashamed of his face, his skin color, his height, he turned outward. (“I had to educate myself on my own worth. It was a sloppy, piecemeal education, but I had to do it because no one else was going to do it for me.”) Tizon illuminates his youthful search for Asian men who had no place in his American history books or classrooms.
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In This Is Just My Face, Gabourey Sidibe—the “gives-zero-effs queen of Hollywood AND perceptive best friend in your head” (Lena Dunham)—paints her unconventional rise to fame with full-throttle honesty. Sidibe tells engrossing, inspiring stories about her Bed-Stuy/Harlem/Senegalese family life with a polygamous father and a gifted mother who supports her two children by singing in the subway, her first job as a phone sex “talker,” and her Oscar-nominated role in Lee Daniels’s Precious.
Sidibe’s memoir hits hard with self-knowing dispatches on friendship, celebrity, weight, haters, fashion, race, and depression (“Sidibe’s heartfelt exploration of insecurity .
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