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.
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.
Nico Lang’s powerful American Teenager closely follows seven transgender young adults, rendering complex, searing and sensitive portraits of their lives.
Nico Lang’s powerful American Teenager closely follows seven transgender young adults, rendering complex, searing and sensitive portraits of their lives.
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Imagine, if you will, the ultimate swanky home tour—but with cats on display in every abode. Such are the joys of House Cat: Inspirational Interiors and the Elegant Felines Who Call Them Home, a worthy follow-up to Where They Purr, Paul Barbera’s first fur-ray into the territory of interiors featuring felines. Whereas the former title focused on the lifestyles of kitties across Europe and Australia, the new book features stateside dwellings. We meet Lady Penelope, who “runs a tight ship” in a New York City penthouse full of playful artwork, and who, having developed arthritis, relies on her “obedient human elevators.” Or how about the nine cat buddies shacked up in a Beverly Hills hacienda? The homes here incredibly diverse in style—everything from a Connecticut saltbox to a modern Miami apartment to a glass palace in the Santa Monica hills—but it’s the cats, and the care shown to capturing their distinctive selves and backstories, that really tugs my heart: “Even in her golden age, Evita Gaton has yet to relinquish her hunting habits. The 12-year-old lynx point Siamese is an independent and sometimes demanding presence in her 18th-century home.” There’s even a Q&A for each cat. (Diva or devoted friend? Lap cat or not? And so on.) 

In House Cat, Paul Barbera makes his second fur-ay into sumptuous interiors and the distinctive felines who dominate them.
Lauren Markham deftly braids reporting on the refugee crisis in Greece with historical research and memoir in A Map of Future Ruins.
STARRED REVIEW
January 23, 2024

Ring in 2024 with 6 transformative self-help books

Tips for healing, motivation and balance abound to help you keep those resolutions this year.
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Tips for healing, motivation and balance abound to help you keep those resolutions this year.
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If you want to write a book, you need to know the name Jami Attenberg. A bestselling novelist and memoirist, Attenberg has gathered more than 30,000 followers for her #1000wordsofsummer project over the past several years. It’s a two-week online accountability sprint, during which she sends quick pep talks—her own and those of author friends—to motivate legions of fellow scribes, who in turn lift each other up online. Her latest book, 1000 Words: A Writer’s Guide to Staying Creative, Focused, and Productive All Year Round, collects and distills that project into a motivational volume every writer should keep close at hand. Wise and frank words from heavy-hitters such as Ada Limon, Deesha Philyaw and Min Jin Lee, and from Attenberg herself, serve to drown out the harsh inner critic, the constant external static and the crushing doubt that threatens to derail any big creative undertaking. It’s like being at a writing retreat with some of the best contemporary authors on the planet.

Bestselling novelist and memoirist Jamie Attenberg collects and distills her #1000wordsofsummer project in a wise and frank new book.
In the meticulously researched and enlightening American Patriots, Ralph Young illustrates the crucial role of dissent in our democracy.
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In the past two decades, the Church of Jesus Christ of Latter-day Saints—widely known as the Mormon church—has relaxed its iron grip on its archives, allowing some historians to conduct research in its vast library. Professor of religious history Benjamin E. Park has availed himself of this new access and of the work of other contemporary historians to write an absorbing history of the church and its culture. American Zion: A New History of Mormonism argues that Mormon history is surprisingly complex, and its evolution mirrors the struggles of American society. 

Mormons were, from the outset, outsiders. They interpreted the Constitution’s protection of freedom of religion as extending to the practice of polygamy; this belief did them no favors as they sought a home. They were dispelled from state to state as zealots, sometimes through violence—their founder, Joseph Smith, was murdered by a mob in Illinois. Escaping to the Utah desert, they were beset by the federal government, which refused to let them form a “State of the Desert” unless they renounced polygamy. Wary, they zealously guarded their records, putting their own spin on their history. In this century, they allied with the religious right and the Republican Party in culture wars and more fully entered the American mainstream, even producing a formidable presidential candidate, Mitt Romney.

American Zion presents an engaging account of the personalities that loom large in the religion, especially Smith and the church’s second president, Brigham Young. But Park also shows how events and attitudes outside the church have divided the faith. He traces its complicated history of racial bias; its misogyny and, fascinatingly, history of feminism among early Mormon women; its stance on LGBTQ+ rights; and how a church still governed largely by elderly white American men is faring as its membership grows internationally. 

Park, a Mormon himself, tells the story from the inside with neutrality; while he’s critical of the faith’s leaders, he has no ax to grind. If you’re looking for a more dramatic treatment, a la Jon Krakauer’s The Banner of Heaven and its ensuing television series, American Zion may not be for you. But if you’re a curious, measured reader, you’ll likely agree with the author that “Mormonism is a deep well.”

Benjamin E. Park’s absorbing history of Mormonism, American Zion, effectively argues that the faith’s evolution mirrors the struggle of American society.
Bethonie Butler’s glossy coffee table book Black TV highlights the impact of Black creators on the entertainment industry.

Comedy and classicism might seem an unusual pairing, but Natalie Haynes has parlayed her two areas of expertise into a career as a bestselling author of fiction and nonfiction, respected scholar and journalist, and popular podcaster (the BBC’s “Natalie Haynes Stands Up for the Classics”).

Her new book, Divine Might: Goddesses in Greek Myth, is a fascinating follow-up to last year’s history of mythological women, Pandora’s Jar. Here, she revisits Greek mythology with an eye to interrogating and reconsidering the stories we’ve long been told—and the roles to which goddesses have been relegated—from a feminist perspective.

Haynes’ passion for her subject is evident whether she’s conveying the results of rigorous research into the works of Homer, Ovid, Sophocles and Aeschylus; explaining how modern pop culture reflects common interpretations of Greek mythology; or describing in vivid detail her experiences of wondrous works of art both ancient and modern (poems, plays, sculptures, paintings, films, music videos and more).

Divine Might begins with the Muses and ends with the Furies; in between are chapters about Hera, Aphrodite, Artemis, Demeter, Hestia and Athena. All have been underestimated, whether in terms of their strength and wisdom, or their vengefulness and anger. As Haynes notes, “We like to be able to separate heroes, villains and victims. It’s convenient for a simple narrative, but it isn’t always reflective of the truth.”

For example, Hestia is not as well known as her counterparts, but as goddess of the hearth she “must have been constantly referred to in daily life, even if not in grand mythological narratives.” And while Artemis is portrayed as “a woodland goddess, riding through mountainous forests with her entourage of wild creatures” we mustn’t forget she revels in “absolute lawlessness, her insistence that everyone subscribes to her view of the world or pays the price.”

With intellectual rigor and contagious enthusiasm, Haynes urges readers to take a second look at contemporary art and society with a new, enlightened appreciation for these mythical women. After all, she writes, “When women make art like men do, their goddesses look divine.”

With intellectual rigor and contagious enthusiasm, Natalie Haynes urges readers to take a more enlightened look at Greek goddesses.
In Goodbye Russia, Fiona Maddocks paints a riveting portrait of Rachmaninoff’s struggles to adapt to a new life outside his beloved homeland.
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Dr. Deborah Plant is an independent scholar of African American Literature and Africana Studies and a former Africana and English professor at the University of South Florida. She is an expert on the life and works of Zora Neale Hurston and edited Barracoon, Hurston’s posthumously published account of the last survivor of the transatlantic slave trade. She is not, however, a historian.

Yet Plant’s latest book, Of Greed and Glory: In Pursuit of Freedom of All is in large part a work of historical nonfiction. In it, she explores how the wording of the 13th Amendment set the stage for the incarceration of millions of African Americans, who in turn provided unpaid labor that enriched their captors. Intended to prohibit slavery, the 13th Amendment exempts “the duly convicted” from its protections, that is, those who have been convicted of a crime. Plant establishes a direct line from this loophole through the Black Codes and Jim Crow laws to today’s mass incarceration, which disproportionately imprisons Black people. In other words, far from prohibiting slavery, the 13th Amendment enabled it to continue under the color of law.

While Of Greed and Glory is grounded in historical fact, it is not a history. Instead, it is a deeply subjective book, drenched with the sorrow and rage Plant feels about her brother’s unjust lifetime sentence for rape he did not commit. Most historians avoid subjectivity, but here, subjectivity is the point. The inhumanity and degradation resulting from the exploitation of the “duly convicted” clause results in the objectification of wide swaths of the population. By sharing her brother’s experience, Plant asserts that he and others like him have the right to be the autonomous sovereigns of their own lives, and not the anonymous targets of an unjust system.

This is an emotional and passionate book, raw in its grief and anger, but also imbued with hope for redemption. Based on objective historical fact and subjective experience, Of Greed and Glory has the power of a sermon and the urgency of a manifesto.

Deborah G. Plant’s indictment of America’s criminal justice system, Of Greed and Glory, has the power of a sermon and the urgency of a manifesto.
In Brandi Sellerz-Jackson’s On Thriving, she uses a conversational, direct tone and tremendous empathy to guide readers on how to move from existing to thriving.
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Brandon Stosuy is a master of pulling together the inspiring words of artists: He has gifted us with the stellar online magazine of interviews The Creative Independent, and three elegantly designed creativity guides. Now he returns with Sad Happens: A Celebration of Tears, a book of reflections, illustrated by Rose Lazar, about the experience and catharsis of sadness and weeping, a “collective, multifaceted archive of tears.” As in his previous books, Stosuy sources from his vast artist network: Many contributors here are music-biz folks, including The National’s Matt Berninger and the ultimate #sadgirl Phoebe Bridgers. “The shared emotion of Sad Happens has real power,” writes Stosuy. “It gives us permission to open up, let down our guard, embrace those things that make us feel vulnerable. By sharing, we see that crying is universal, and that tears should, in fact, be celebrated.” Tears come when they will, like it or not: during the “emotional exorcism” of massage for writer Nada Alic, while singing for Gelsey Bell, and while flying for Hanif Abdurraqib. The effect of reading these candid takes on sadness may elicit your own, and maybe that’s a good thing. While paging through the book, I remembered once texting my teenage daughter to see what she was doing, and she said, “Listening to the boygenius album and crying. Don’t worry, I’m making the conscious choice to cry.” And I felt a little sad, then, that I rarely cry. I used to, a lot; but now an SSRI suppresses the tears. There should be a word, I think, for “feeling like crying, but thanks to medication, you can’t.”

Brandon Stosuy collects candid takes on sadness from Phoebe Bridgers, Hanif Abdurraqib and a bevy of other luminaries in Sad Happens.

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