Hugh Bonneville’s memoir is intriguing, breezy and full of intellect, a delicious stroll down a red carpet lined with big names and laugh-out-loud anecdotes.
Jeremiah Moss’ Feral City is an indelible portrait of New York City in transition, vibrating with eat-the-rich energy and time-marches-on poignancy.
In her debut memoir, Daniella Mestyanek Young ponders not the differences between the cult she grew up in and the U.S. Army, but their similarities.
I’ve Had to Think Up a Way to Survive is more than an artful memoir about trauma and Dolly Parton; it is thought-provoking cultural analysis.
Hua Hsu’s remarkable memoir examines the reverberations of a friendship frozen in time by untimely death.
Ander Monson’s exploration of the 1987 film Predator has the rampant energy and good-natured, aw-shucks humility of a lively conversation in a movie theater lobby.
Ander Monson’s exploration of the 1987 film Predator has the rampant energy and good-natured, aw-shucks humility of a lively conversation in a movie theater lobby.
Ander Monson’s exploration of the 1987 film Predator has the rampant energy and good-natured, aw-shucks humility of a lively conversation in a movie theater lobby.
A relationship is a living thing, and as Elizabeth Crane writes her way through the end of her marriage, she reveals pleasures mingled with pain.
Fruit Punch is a startling, unique and deeply poetic meditation on sexuality and violence. Kendra Allen is a writer on the rise.
In Paul Newman’s posthumous memoir, his upbringing, military service, marriages, children and professional endeavors are all laid out on the table.
The 12 essays in Isaac Fitzgerald’s Dirtbag, Massachusetts offer heaping helpings of humor, joy, pain, sorrow, grace and insight.
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