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Fans of The Thursday Murder Club mysteries will devour the first book in Richard Osman’s newest series, We Solve Murders.

Amy Wheeler is a bodyguard for Maximum Impact Solutions, a British private security company. Her latest assignment has her protecting Rosie D’Antonio, a brash, bestselling author who offended a Russian oligarch with her latest book. As the women hide out on a private island, Amy realizes she may be in trouble: Three of her previous clients have been killed, all while she was nearby. Is someone targeting Maximum Impact Solutions? Or Amy herself?

After Amy narrowly survives an attack, the women go on the run, and Amy contacts the only person she trusts: her father-in-law, Steve. The former London cop is mostly retired, though he takes on private investigator jobs to stay sharp. Steve is a homebody at heart, preferring to spend his time with his cat, Trouble, though he never misses the weekly pub quiz with his friends. Still, when Amy needs him, Steve hops on a plane to help figure out who’s setting up Amy and why.

We Solve Murders is an outstanding mystery novel, rife with red herrings and numerous suspects, as well as Osman’s signature humor and heart. It’s a pitch-perfect blend of the cozy mystery and thriller genres: The sleuths are working out the intricately plotted mystery on their own, without the help of law enforcement; the overall tone of the book is breezy and fun, despite the body count; and the mystery takes the main characters all over the world, exposing them to danger and some unsavory individuals. There’s a little violence—Amy is a bodyguard and someone is trying to kill them, after all—but little to no gore. Steve is the quintessential cozy mystery sleuth, while Amy is a perfect choice to lead a thriller novel. In combining the two, Osman gives readers the best of both genres.

While the central puzzle is excellent and well-crafted, the heart of the novel lies with Amy, Steve and Rosie. Amy and Steve share a sweet bond, and both are battling trauma and loss in their own ways. And Rosie is in a league of her own: The older author is fabulous, brave and hilarious in equal measure. She helps Amy and Steve become better versions of themselves, and steals just about every scene she’s in. Another standout character is the mysterious “Francois Loubet,” the mastermind behind the killings. The novel is interspersed with messages from Loubet, who uses ChatGPT to further disguise his true identity. Readers will enjoy following Osman’s clues to figure out who Loubet is and why he’s targeting Amy and Maximum Impact Solutions.

Mystery fans have been richly rewarded with We Solve Murders, and will be happy to know that Osman has more in store for these characters.

In We Solve Murders, Richard Osman accomplishes the seemingly impossible: a cozy mystery-thriller mashup.
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Nemonte Nenquimo and her family lived within nature, with food from the river, the rainforest and their gardens. A monkey was her childhood pet. According to family lore, she knew she would become a spirit jaguar when she died. But things were changing fast: A huge metal tube had descended from the sky not too many years before she was born. The missionaries who emerged from it didn’t speak her language, but they persuaded her community’s leaders to put a mark on a paper in return for clothing and other gifts.

Within a couple of decades later, her river was black with pollution, much of her forest was cut down, her community’s men had been coerced into laboring for oil companies in exchange for pieces of paper their way of life had no use for. White people said Nenquimo and her community must worship their god. She and other children were herded into schools that forced them to put aside their traditions.

A Waorani woman from Ecuador’s Amazon region, Nenquimo co-founded the Indigenous-led Ceibo Alliance that scored a major legal victory in 2019, protecting half a million acres of rainforest from oil drilling. Nenquimo has been lauded internationally for her activism; now, with husband Mitch Anderson, an American environmentalist, she is telling her story in the inspired and rare We Will Be Jaguars: A Memoir of My People.

In this lyrically written memoir, Nenquimo takes us inside her world, with its tensions between her family’s shamanistic traditions and the initial allure of the Christian missionaries, who taught her to read and write in Spanish, allowing her to communicate more widely. But this education came at a cost that traumatized Nenquimo for years. She describes her emotional journey through a deeply spiritual perspective, including one remarkable scene in which drinking ayahuasca brings her a revelatory vision. 

Nenquimo sharply conveys the sheer confusion and terror of colonialism for the Waorani and other Indigenous peoples. Missionaries, oil executives and government officials used underhanded methods to wrest control of the region from families like Nenquimo’s. Ironically, the missionary education gave Nenquimo and others the tools they needed to fight back. Her story is one of fierce determination to claim a heritage that was nearly stolen from her. 

Climate activist Nemonte Nenquimo tells the story of her Waorani people in the inspired, beautifully written We Will Be Jaguars.

As Gillian Anderson prepared for her role as a sex therapist in the British TV show Sex Education (which this writer quickly added to her Netflix queue), she read the 1973 cult classic My Secret Garden, a compendium of fantasies collected by novelist Nancy Friday. In Friday’s book, Anderson writes, it was revealed that “. . . for some of us, the sex we have in our head may be more stimulating than the physical nuts and bolts of any coupling, no matter how hot. Unconstrained by assumed social conventions, self-consciousness, or perhaps the fear of making our partner uncomfortable, in our imagination we can indulge in our deepest, most transgressive desires.”

Inspired by Friday, Anderson put out an invitation for women and genderqueer people to write down their own fantasies and send them to her. She soon began amassing a “torrent of unbridled passion from around the world.” The result is Want: Sexual Fantasies by Anonymous, an extensive series of writings—some less than a page long, but most a page or two—detailing a multitude of diverse fantasies. What began as a platform for women to anonymously share fantasies has turned into something like a calling.

The polyvocality of Want means there’s something for everyone, but it also means that you’ll probably come across a fantasy you’ve never considered, as with Anderson, who writes that she was fascinated by the number of women with dreams of being milked like a cow. “The human imagination has few limits and our sexual desires and fantasies are no different, yet are still treated as taboo,” she writes in the book’s introduction. “Is everyone ashamed and pretending not to be?”

Anderson herself is among the anonymous writers here. There’s no hint at which of the many fantasies is hers; the only identity markers at the end of every essay are nationality, income, religion, sexual orientation, relationship status and whether the writer has children. “I was terrified of putting my fantasy down on paper,” she writes, “lest someone was able to discern which was mine.” But after reading more than 1,000 others, she finds that “sexual liberation must mean freedom to enjoy sex on our terms, to say what we want, not what we are pressured or believe we are expected to want.”

With luck, this provocative, original volume will help women and genderqueer people feel more empowered and less ashamed.

Gillian Anderson asked women to send her their sexual fantasies. The result is a provocative, original volume that will help women and genderqueer people feel more empowered and less ashamed.
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Quite often in fiction, the figure of the vampire has represented loneliness; readers are very accustomed to the particular kind of yearning that immortality and blood thirst can bring. We’ve seen it in the work of Anne Rice, Stephenie Meyer and many more, but we’ve arguably never seen that sense of yearning quite the way Rachel Koller Croft portrays it in her new novel, We Love the Nightlife.

In Croft’s follow-up to her debut, the thriller Stone Cold Fox, the vampires of Nightlife are draped in yearning even as their never-ending revels mask what they really want. Croft’s protagonist, Amber, is frozen in her party girl prime, turned in the waning days of the 1970s by her maker, the beautiful and manipulative Nicola. Decades later, despite the comfortable life they share in a Victorian mansion, and Nicola’s ambition to open a new nightclub to be their personal playground, the old ways of doing things start to chafe at Amber. She begins to imagine what life might be like without Nicola, and considers what an escape plan might look like. But Nicola’s influence is powerful, her ambitions are vast and her appetite for control deeper than Amber ever imagined.

When we meet her, Amber is not physically alone, but she is lonely, trapped in a domineering friendship she’d rather leave, desperate for a way to change her circumstances and yearning for a different life. It’s a place most of us have been at some point or another, and despite her vampiric nature, Amber feels like one of us. This is mainly due to Croft’s skill; her conversational, warm and relatable prose depicts Amber not as a lonely monster, but as a person longing for freedom in a savage world covered in glitter and awash with pulsing music.

The real magic trick of the novel, though, is how Croft fleshes out the world beyond Amber’s view. Nicola’s perspective is also laced throughout the narrative, from her childhood more than a century earlier to her very particular desires in the present day. We get to see not just Nicola’s side of the story, but her own brand of yearning, giving the book an antagonist who’s not just remarkably well-developed, but human in her own twisted way. These dueling perspectives, coupled with memorable side characters and a beautifully paced plot, make We Love the Nightlife an engrossing, darkly funny, twisted breakup story that’s perfect for vampire fiction fans and fans of relationship drama alike.

We Love the Nightlife is an engrossing, darkly funny and twisted story about a friendship breakup—between two vampires.

Oscar Wilde (1854–1900) is known for his comedic plays (The Importance of Being Earnest), fiction (The Picture of Dorian Gray) and for his trial and imprisonment for his homosexuality. Less well known is that he had a family: his wife Constance, who advocated for more practical dress for women, and their sons Cyril and Vyvyan. In The Wildes, novelist Louis Bayard focuses on Constance, Cyril and Vyvyan.

Like a play, The Wildes is structured in five acts. Act 1 opens in 1892 at a farm in the Norfolk countryside, where Constance and Oscar; their son Cyril; Oscar’s larger-than-life mother, Lady Jane Wilde; and their friends Arthur and Florence Clifton are spending a holiday. Soon, they are interrupted by the arrival of young Lord Alfred Douglas, nicknamed Bosie. The spoiled Bosie, a student at Oxford, seems to be one of Oscar’s “poets”—young, literary men eager to spend time with the great writer. This section, the longest in the novel, often feels like a drawing-room comedy—both Constance and Lady Jane Wilde are wits—but woven throughout is the slow dawning of Constance’s understanding about Oscar and her marriage, as she pieces together the reality of Oscar and Bosie’s relationship.  

Act 2 leaps forward five years, to a villa in Italy where Constance, Cyril and Vyvyan are living. The scandal of Oscar’s trial for gross indecency and homosexual acts, and his imprisonment, have forced Constance and the boys into exile, and they are hiding unhappily under a new last name. Acts 3 and 4 leap forward again, skipping over the tragedy of Oscar and Constance’s early deaths to episodes in Cyril and Vyvyan’s adulthoods—for Cyril, a pivotal day in the trenches in World War I France, and for Vyvyan, a theater outing with a family friend, on a night in 1925. Act 5 circles back to 1892 in that farmhouse in Norfolk, with a hopeful reimagining of this family’s life.

Although Bayard’s ending asks a little too much of Constance, the novel gives its heart to her; she’s a believable, loving, heartbroken character. In The Wildes, Bayard has built a story beyond the well-known tragedy, and though the novel never gives us Oscar’s perspective, we see him through Constance, Cyril and Vyvyan’s eyes—as an engaged father, loving but distant husband, self-absorbed keeper of secrets, and a terrified man unable to love openly.

 

In The Wildes, novelist Louis Bayard shows us Oscar Wilde through the eyes of his wife and sons—presenting a portrait of the poet and playwright as engaged father, loving but distant husband, self-absorbed keeper of secrets and a terrified man unable to love openly.
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An ibex stands on a mountain, peacefully grazing, until they are challenged for “the top spot.” In response, the ibex asks, “But what are we even fighting for?” When the ibex receives an attack instead of an answer, they flee from the challenge. Fleeing does not solve problems, however—and it certainly doesn’t get them the top spot. 

A scraggly goat might hold the answers as to how to claim the strange prize. Can the ibex take the goat’s advice, return to the ibex herd and outwit the others? And even if they do, what does winning the top spot really mean?

Frank Weber’s new picture book The Top Spot offers wry commentary on exceptionalism: Why claim the top spot at all? 

Perfect for fans of We Are Definitely Human, The Top Spot explores the strength to be found in cunning over size, as well as how the things we fight over may, ultimately, be pointless. Sparse text lets the artwork shine, leading its unconventional jokes to hit all the harder, with unexpected payoffs as the book progresses. 

Existentialist humor combined with expressive illustrations and a muted, earthy palette makes this picture book one that readers of Jon Klassen will particularly enjoy. Children will be encouraged to examine why they might be competitive with their friends and what, in the end, it actually gets them. The answer might surprise.

Frank Weber’s new picture book The Top Spot offers wry commentary on exceptionalism: Why claim the top spot at all?
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Nadia Ahmed’s The Ghost Who Was Afraid of Everything is not only a charming Halloween tale, but also an excellent year-round story about facing one’s fears. Young Finn is scared of many things, including tree branches, butterflies, the color orange and flying. On Halloween, he stays home in his attic—noisy humans also make him anxious—while his older brother and sister have a grand time careening through the air. However, when they fail to bring back Finn his favorite Halloween treat (chocolate bats), he swears that he will fly to get his own next year. 

Ahmed’s prose perfectly captures Finn’s trepidation in just a handful of words that will resonate with young readers: “When Finn is afraid, his stomach swoops, his hands sweat, and he can’t move.” Happily, Finn’s gradual self-regulated program of exposure therapy works! He starts out small, simply touching a leafless branch “for one whole minute.” 

Ahmed’s whimsical illustrations are mostly in black and white at the start, except for flashes of that dreaded orange. Despite this limited palette, the pages are wonderfully appealing, never scary or dull. Finn is a simply drawn ghost, but somehow his spirit—pardon the pun—and resolution shine through on every page. As he tackles his fears one by one, color gradually enters his world. The final spread is a glorious ode to Halloween orange, as well as other small splashes of the rainbow. Ghoulishly great, The Ghost Who Was Afraid of Everything will inspire readers sidelined by their own jitters. 

 

The Ghost Who Was Afraid of Everything is a ghoulishly great Halloween story as well as an inspirational guide for readers sidelined by their own jitters.
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Rejection: Somewhere on the continuum between a casual date rebuff and a duo-destroying divorce, we’ve all experienced it. In Rejection, Whiting and O. Henry Award-winning author Tony Tulathimutte raises the experience to an art form. In seven connected stories, he chronicles several characters’ vivid responses to being turned down, or turned away. 

By vivid, I mean frequently TMI-delivering. Colorful descriptions of body parts and the multiple ways they can interact tumble off the page, and if depictions of sadism and ersatz semen (complete with a recipe) are off-putting, you might consider something more PG. On the other hand, if you can roll with the aforementioned, the book is frequently downright hilarious. 

In one story, the protagonist is a cartoonishly hyperactive tech bro, whose latest invention is living room furniture that also functions as workout equipment, allowing the user to crush out 300-pound leg presses. (Unfortunately, his team hasn’t yet worked out the “stinky/soggy upholstery” problem.) In another chapter, Tulathimutte documents a multi-hour consensus meeting in a university’s “queer-friendly vegetarian-friendly 420-friendly co-op,” weaponizing and satirizing political correctness in extremis. 

As one might expect from a graduate of both Stanford and the Iowa Writers’ Workshop, Tulathimutte has a facility with verbal stunt-piloting that at times borders on the dazzling. Not every writer can pull off a sentence like this one, describing social media as “the give-and-take of giving takes where no one could take what they’d give.” The structure of Rejection is distinctive as well, riddled with group text messages, acronyms and the jargon of those raised with the internet. Pro tip; Boomers and Gen Xers might want to keep a browser tab open to Urban Dictionary for easy reference.  

Right at the end, Tulathimutte throws one last curveball reminiscent of Jorge Luis Borges, a little literary Ouroboros that may cause the reader to question the legitimacy of the entire narrative that precedes it. Clever trick, that, in a clever book aimed at clever readers. 

Tony Tulathimutte’s facility with verbal stunt-piloting borders on the dazzling in Rejection, a novel in seven stories that chronicles vivid responses to the experience of being turned down, or turned away.
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Be careful what you wish for. That’s definitely true for Hannah, the seventh grader whose journal constitutes Remy Lai’s Read at Your Own Risk. Hannah and her friends search for a diversion while “some boring author” comes to their school assembly to “talk about his spooky books, which I bet aren’t even spooky.” Instead of attending, they decide to venture into the school attic and play a Ouija board-style game they call “Spirit of the Coin.” After their session, however, Hannah quickly discovers that she is haunted by an evil spirit, who continues to terrify her, and even writes in her journal in red ink. 

The journal format will definitely appeal to middle grade readers, making the story all the more intimate and seemingly real. Nonetheless, be forewarned: As the cover filled with skulls and dripping with blood would suggest, this book is not for the squeamish. While many readers will revel in its thrills and chills, others may be completely terrified, especially by the frequent blood splatters, horrific dental details and the hospitalization of the narrator’s young brother. 

Those whom those details don’t scare off may easily find themselves reading it more than once, looking for clues about the evil spirit. Read at Your Own Risk is a dynamic display of scary storytelling and compelling, haunting graphics that challenges readers to create their own journals. Lai leans into the mysterious as she wields her craft, noting, “Telling a story is like piecing together a jigsaw puzzle. Only the storyteller has the box and knows what the whole picture looks like.”

Read at Your Own Risk is a dynamic display of scary storytelling and compelling, haunting graphics that challenges readers to create their own journals.

School’s out and Jesus is itching to run outside and play, but wait—Mama has to watch her telenovela first. “When you’re an only child, with no brothers or sisters to play with,” he remarks, “you have to make your own fun.” To pass the time, he sweeps, dusts and eats “all the cereal we’re running low on. That way, we can start on the new box!”

When a stunned Mama encounters the chaos wrought by Jesus’ helpfulness, she conjures up an idea to keep him entertained so she can enjoy her afternoon TV: “What I really need is someone to look after my dear plantitas. . . . Someone who will be a big brother to these magnificent plants.” 

In 2023’s Papa’s Magical Water-Jug Clock, which received a Pura Belpré Honor for both writing and illustration, readers learned that Jesus is a sweet, spirited little boy who takes pride in helping his family. First, he assisted Papa with outdoor landscaping; now, in Mama’s Magnificent Dancing Plantitas, he’s excitedly dubbed himself indoor “Chief Plant Officer!”

Jesus takes his job seriously, and as he waters and chats with the greenery in his charge, he also shares his takes on them, including a “grumpy” sunglasses-wearing cactus and a Swiss cheese plant with holey leaves: “By the way, don’t eat them,” he warns. “They definitely don’t taste like cheese!”

When his attempt to cheer up a droopy golden pothos via impromptu dance party goes terribly awry, Jesus’ anxiety is hilariously illustrated by Eliza Kinkz in double-page spreads of soaring despair. He ponders his fate as a “murderer” and envisions a somber yet delightfully punny plant funeral. What will his parents think? Does Mama’s favorite plant have a chance at survival? 

Stand-up comedian and TV writer Jesus Trejo has created another warmly funny story that highlights the value of improvisational thinking, the beauty of a loving family and the joys of houseplants. Kinkz’s kinetic, colorful illustrations serve as a wonderful counterpoint to this winning treasure of a tale that reminds us that “breaking things is part of life. Sometimes, it’s even what helps us grow.”

 

With Mama's Magnificent Dancing Plantitas, Jesus Trejo and Eliza Kinkz have created another warmly funny story that highlights the value of improvisational thinking, the beauty of a loving family and the joys of houseplants.
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With Vikki VanSickle’s compelling rhyming couplets and Jensine Eckwall’s lush, moody illustrations, Into the Goblin Market has all the makings of a modern classic, while giving a delightful nod to European fairy tales. The book is a tribute to Christina Rosetti’s 1859 poem, “Goblin Market,” about sisters Laura and Lizzie. VanSickle has used the original to create a similar tale about two young sisters who seem to live alone in a fairy tale-like world “on a farm, not far from here.” Millie is quiet and bookish, while Mina, with a head full of wild, curly hair, is daring and always ready for adventure. One night, Mina sneaks away to the Goblin Market, even though Millie has warned her, “The Goblin Market isn’t safe. / It’s a tricky, wicked place.”

When Millie awakes and sees that Mina has disappeared, she consults her library and takes several items that end up providing invaluable protection. Eckwall’s intricate, woodcut-inspired art vividly conveys the magic and danger that awaits. Occasional red accents in these black-and-white ink drawings highlight objects such as the hooded cape Millie wears as she sets off, looking just like Red Riding Hood—and, indeed, a shaggy black wolf is the first thing she encounters. 

Once she enters the market, “Everywhere that Millie looked / was like a nightmare from her books.” There are strange sights galore, including a multitude of goblins and an evil-looking witch, but there’s no sign of Mina, whom Millie knows is in trouble. The pages are definitely a feast for the imagination (although the very young may find them frightening). 

Both sisters use their wits admirably to escape the many dangers, and there’s a wonderful surprise at the end, just when all seems to be lost. Into the Goblin Market is a delicious treat for those yearning for a bit of frightful adventure. 

 

A tribute to the work of Victorian poet Christina Rosetti, Into the Goblin Market is a delicious treat for those yearning for a bit of frightful adventure.
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When circumstances force Christopher to spend time at his grandfather’s house in the middle-of-nowhere in Scotland, he expects it to be a bore—until he discovers the Archipelago. Home to creatures of myth and items of magic, Christopher’s family has protected the door to the Archipelago for generations. When a young girl named Mal breaks through the entrance and begs Christopher to help save her life and the lives of all magical creatures, his “allegiance” to “wild and living things”—and his own curiosity—leads him to follow her back into the Archipelago.

With its immortal protector missing, dangerous creatures swarming and a strange force trying to take the world’s magic for its own, the Archipelago is no place for children. But Christopher and Mal are the only people who can save it, even if that means working with pirates, peculiar scientists, odd dragons and sphinxes that could easily kill them. If they survive, it will be quite the story to tell. If they fail, everything will fall to ruin.

Bestselling author Katherine Rundell returns to middle grade with the powerful and charming Impossible Creatures, a modern fantasy with a classic feel. It’s hard not to fall in love with the Archipelago: From Mal’s unique flying coat to the myriad of magical creatures, there is much in the world-building to enjoy. Artwork from Ashley Mackenzie highlights the story’s most fantastical moments, adding to the book’s classic adventure feel and immersing readers in its magic. A fully illustrated guide to the mythological creatures in the back matter fleshes out the fictional world, expanding upon little details only hinted at in the text.

Mal and Christopher serve as alternating narrators before the book settles into Christopher’s point of view, which may leave Mal’s early fans a little in the lurch as they hope for more of her perspective. Her role in the story, however, becomes one of utmost importance, and though the book comes to a satisfying conclusion, readers will be itching to see if and how her arc continues in the rest of the series.

Impossible Creatures is an ode to children’s ability to hope and to make hard decisions. As one character puts it, “Children have been underestimated for hundreds of years.” Younger readers who don’t handle dark moments well should wait until they are older to pick this up: The battle of goodness against despair involves death and does not stray away from a harsher narrative. 

But for readers who devour adventure fantasy stories like The Ogress and the Orphans by Kelly Barnhill as well as classics like Philip Pullman’s The Golden Compass, Impossible Creatures is a must-read.

Bestselling author Katherine Rundell returns to middle grade with the powerful and charming Impossible Creatures, a modern fantasy with a classic feel.
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Emily Witt sets her arresting memoir, Health and Safety: A Breakdown, in New York City from 2016 to 2021, charting her entry into the city’s techno scene with its mind-altering drugs, ecstatic music and community of people sometimes embracing, sometimes resisting a changing new world. In her book’s first section, she describes learning the “geography of nightlife,” writing gauzily about raves and parties she attends, the drugs she takes and the general euphoria that blankets her life for several months as she falls in love with a fellow raver, Andrew. 

When the Trump presidency begins, we are thrust back into the waking world with her, and the story takes on much darker hues. Still, she continues to party until she can’t: COVID-19 hits the city with ferocity. Gone are the raves and the DJs and the scene itself, “and with it the illusion of health and safety.” Witt invites us to relive a tumultuous era in the country’s history through the eyes of a keen observer.

Witt, a staff writer for the New Yorker and author of the acclaimed exploration of nontraditional sex, Future Sex, relays her experiences covering watershed moments and national tragedies: the aftermath of the massacre at Marjory Stoneman Douglas High School, protests after the death of Breonna Taylor, and the verdict in the trial of Derek Chauvin for the murder of George Floyd. She reflects on the country’s collective heartbreak and rage alongside her own personal losses, like her tumultuous romantic entanglement and breakup with Andrew, which throws her world into chaos. And she deftly analyzes her role as a journalist in a mad world where her work feels, at times, ineffectual. 

Witt looks back at this time of experimentation with wisdom, writing that she used hallucinogens to “psychically rearrange a world I understood to be so deeply corrupted . . . that I sought a chemical window to see outside.” In the end, readers who prefer a tidy memoir that culminates in a single awakening may find Health and Safety wanting; it’s more like a spider web glistening with many realizations that branch out in connecting threads. This sharp, deeply personal work is all the better for it.

Emily Witt’s sharp, deeply personal memoir, Health and Safety, invites us to relive a tumultuous era in American history through the eyes of a keen observer.

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