Emphasizing personal style, Joan Barzilay Freund’s Defining Style is a freeing, inspiring and extremely innovative look at interior design.
Emphasizing personal style, Joan Barzilay Freund’s Defining Style is a freeing, inspiring and extremely innovative look at interior design.
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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.

When Joanna Brichetto sees potato chips, she craves goldfinches. An offbeat association? Sure. One imbued with enthusiasm and nature-loving logic? Absolutely. You see, she explains, the goldfinch’s call sounds like “potato-chip, potato-chip,” and the Lay’s Classic Potato Chips bag is a yellow “not unlike a male goldfinch in breeding plumage.” 

That perspective-shifting, find-joy-in-daily-life revelation is just one of many the blogger and certified Tennessee naturalist shares in her wonderful, wonder-inducing debut, This Is How a Robin Drinks: Essays on Urban Nature.

Brichetto—a former BookPage contributor —believes that “by paying attention to the natural world we have a chance to figure out who, where, and when we are.” Fortunately, “nature is all around”—and in this almanac organized by season, she encounters and explores nature in places we expect, like parks and gardens and birdbaths. But what about thrift stores, grocery bags and abandoned mall parking lots?

If we stroll rather than stride through our yards and neighborhoods, Brichetto assures us, we can find nature everywhere, too—despite humans’ relentless efforts to constrain, pave over or poison it. Readers will relish her thoughtful essays rife with idiosyncratic humor and poetic reverence, like her observation that a purchased-turf lawn has been “gentrified by sod.” 

In her summer section, Brichetto is particularly reverent toward cicadas, which can fall prey to new construction (the Nashville-based author was treated to two overlapping broods this summer). “He will sing with the moon,” she writes of one, “but I have his skin, which once held the sun.” In fall, her pockets “surrender snail shells, turn out twigs of spicebush, fumble oak apples round and dry.” A red-tailed hawk transforms her from a winter commuter to “a character in a fairy story.” And she composes a spring ode to catalpa trees, which she suggests may be “admired by pressing one’s face into a pyramid of blossom.”

This Is How a Robin Drinks is sure to trigger an uptick in meanderings—urban or rural, day or night—suffused with new appreciation for and a renewed determination to preserve our endlessly fascinating yet increasingly vulnerable environment. And not a moment too soon; after all, Brichetto writes, “Spoiler alert: nature’s best hope is us.”

Naturalist Joanna Brichetto uncovers the beauty of urban landscapes in her wonder-inducing debut, This Is How a Robin Drinks.
Ta-Nehisi Coates wrestles with the weighty responsibility of being a writer in The Message, a powerful collection of essays.
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In March 1921, the world-famous botanist and geneticist Nikolai Vavilov was named director of the Bureau of Applied Botany and Plant Breeding, which was located in Leningrad (now St. Petersburg, Russia) and devoted to the study of plant life. He initiated an ambitious plan to develop the world’s first seed bank, which he promised would be “a treasury of all known crops and plants” that would produce super crops that could alleviate global famine.

Award-winning author Simon Parkin vividly relates the tragic yet inspiring story of Vavilov and his team’s dedication to the project in The Forbidden Garden: The Botanists of Besieged Leningrad and Their Impossible Choice. By 1934, Vavilov’s pioneering effort had opened over 400 research facilities around the Soviet Union. The seeds, “stored in packets and filed for safekeeping in the wooden drawers that lined the seed bank’s dozens of rooms,” were irreplaceable; in some cases, they had been harvested from crops now extinct due to human activity. Vavilov recruited and trained a staff that understood their worth and felt a “keen sense of responsibility.”

In August 1940, Vavilov vanished. And in June 1941, German troops invaded the Soviet Union. Leningrad’s industrial factories gave the city strategic importance, and as the birthplace of revolutionary Communism, it “symbolized all that Nazi ideology opposed.” Hitler decided to “starve it into submission.” Without support from Stalin’s government and unable to move the seeds, the Plant Institute staff and others in the city lived and died through 872 days of siege.

The remaining staff now faced a moral question. “Eat or abstain?” Parkin writes. “Is any sacrifice justifiable in the name of scientific progress, or to protect one’s research? What responsibility did the botanists hold to the survival of future generations? . . . There is no doubt that the quarter of a million seeds, nuts and vegetables in the building . . . could have prolonged the lives of the botanists and, beyond that, the public.” A new director encouraged them to eat the collection, but, committed to their mission, they refused. Using the diaries and letters of the botanists, as well as later-recorded oral histories, Parkin paints a suspense-filled record of this harrowing time in history.

The Forbidden Garden uncovers the tragic, inspiring story of Russian botanists who sacrificed everything to preserve a quarter million seeds during World War II.
Wright Thompson reckons with the culture of the Mississippi Delta and the murder of Emmett Till in his brilliant, probing history, The Barn.
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The oral history form can sometimes feel like a cop-out—a notebook dump that requires the author to do little but interview and transcribe and put passages in a reasonable order. 

But Paper of Wreckage: The Rogues, Renegades, Wiseguys, Wankers, and Relentless Reporters Who Redefined American Media gets a pass. The book’s subject, the New York Post’s past 50 years, includes so many famous and infamous characters, world events and weird historical side quests that the oral history form makes perfect sense. Plus, most of the subjects interviewed are colorful storytellers in their own right, making the blocks of text propulsive and vibrant without authorial intervention. 

This could be a book about journalism, sports journalism, political journalism, gossip journalism, celebrity, serial killers, labor, New York City, Donald Trump or Rupert Murdoch. Instead, it’s all of the above. Authors Susan Mulcahy and Frank DiGiacomo, both Post veterans themselves, have a sense for narrative (or at times, comedic) timing. Some well-known figure is described negatively and then immediately shows up to defend themself (or admit wrongdoing). An interviewee describes a funny or bad experience with a Post co-worker, only for the co-worker to respond directly in the next paragraph. Even journalists remember things differently. 

Two ex-Posties compare Murdoch’s arrival at the tabloid in the 1970s to Hitler’s arrival in Poland. But for the most part, the crew at the newspaper didn’t take themselves too seriously. Some went on to illustrious stints at more respectable publications, but still recall their time at the Post as the most fun and memorable of their careers. It was a funnier, dirtier, meaner, more violent and more exciting newsroom than most—including the New York Daily News and New York Times, with whom the Post has traded scoops and staffers back and forth for generations. 

The story sobers as it nears the present day. The paper’s right-wing politics become more entrenched, and the embrace of longtime Page Six stalwart Donald Trump and his presidency sour even those who still held out hope for the paper. The publication whiffs on the transition to television and then the internet, and its sway in New York faded. But the ride up to that point will entertain anyone interested in media, politics, celebrity or good stories. 

Paper of Wreckage is a vibrant oral history of the New York Post that recounts the tabloid’s sordid—and legendary—glory days.
Oliver Burkeman flies in the face of generations of self-help books, inviting readers to let go of their desire for control and get off the hamster wheel of endless to-do lists and TBR stacks.
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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.
The beautifully printed, encyclopedic Great Women Sculptors brings together more than 300 artists who have been excluded from institutions and canons on the basis of gender.

A pet cemetery can be much more than fodder for horror stories and Ramones songs. It can also be a way to dig deep (pardon the pun) into the ways that people live and grieve. Paul Koudounaris’ thoroughly researched book, Faithful Unto Death: Pet Cemeteries, Animal Graves & Eternal Devotion, is an investigation into the bonds between pets and their owners. It begins by explaining that, although people have kept animals close since ancient times, the modern conception of a pet is fairly contemporary. As people left rural areas in the wake of 19th-century industrialization, they brought their animals with them. In these new, smaller quarters, they grew ever more intimate. Faithful Unto Death is as much about how people love their pets as it is about how they mourn them. For a book that’s ostensibly about death, it’s not overly macabre: Passages about grief and Edna Clyne’s famous “Rainbow Bridge” poem are interspersed with images of a dog named Ah Fuk and a tomb for a beagle named Tippy, “the Elvis dog,” who was sung to by The King himself in her puppyhood. With archival photos and illustrations featured alongside Koudounaris’ portraits of headstones and informal altars, Faithful Unto Death will appeal to those interested in cultural rituals and the human-animal bond; what’s more, readers who have lost their own pets will feel acknowledged in their grief. 

 

Faithful Unto Death is a thoughtful investigation into the bonds of pets and their owners that chronicles the ways in which we grieve and remember the animals we love.
Oliver Radclyffe’s Frighten the Horses is a powerful standout among the burgeoning subgenre of gender transition memoirs.

Eerie Legends: An Illustrated Exploration of Creepy Creatures, the Paranormal, and Folklore From Around the World arrives like Halloween candy, just in time for the spookiest season of the year. Austin, Texas-based artist Ricardo Diseño’s bold, offbeat illustrations don’t simply complement these spine-tingling stories, they lead the way. Each chapter blends elements of fiction and nonfiction, and includes a corresponding full-page illustration that stands on its own as a fully realized piece of art. The horror elements here are plenty scary, but skew toward the creature-feature end of the spectrum—think Universal Studio monsters, or even Troma’s The Toxic Avenger. The chapter on Krampus details the yuletide terror’s appearance with frightening specificity: “Part man, part goat, and part devil. . . . His tongue is red, forked, creepy, and always whipping around.” Diseño’s hoofed monster, straight out of the Blumhouse cinematic universe, is shown in the midst of abducting a child. Each chapter ends with a campfire-style tale about the designated monster, written with Lovecraftian zeal by Steve Mockus. As an added incentive, the cover glows in the dark—a feature I hadn’t noticed until after I fell asleep with it on my bedside table. Talk about eerie.

 

Bold, offbeat illustrations by Ricardo Diseño lead the way in the spooky-fun Eerie Legends.
In beautifully colored and evocative frames, Brittle Joints shares illustrator Maria Sweeney’s experiences living with a rare disability.

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