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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In 2014, Misty Copeland became the first Black dancer to ever take the stage as Swan Queen in Swan Lake. The next year, she was promoted to principal dancer in the American Ballet Theatre, making her the first Black dancer to ever secure the role. She has been heralded as a prodigy and celebrated as a trailblazer. Yet in the first decade of her career, she was made to paint her face to look less like herself, less Black. White choreographers had long tried to steer her toward modern dance, where her skin color was more acceptable, and where she would not “break the line” of pale flesh. 

Today, large dance organizations boast diversity, equity and inclusion programming, and all dancers can finally find ballet tights and shoes that match their skin tone. Thanks to Copeland, other Black girls may not feel so alone in their unquenchable desire to dance classical ballet. 

But decades before Copeland took to the stage, as she frequently acknowledges, Black girls and women were performing to accolades all over the globe and in U.S. cities generally hostile to anyone of color. The change began in Harlem, when the 1968 assassination of Martin Luther King Jr. inspired a Black dancer, Arthur Mitchell, to found his own ballet company. The Swans of Harlem: Five Black Ballerinas, Fifty Years of Sisterhood, and Their Reclamation of a Groundbreaking History is journalist Karen Valby’s spirited account of Mitchell’s Dance Theater of Harlem, and of five principal dancers who, half a century after their time in the spotlight, formed the 152nd Street Black Ballet Legacy Council to tell their story. 

In 1968, Lydia Abarca was working as a bank secretary and about to enter Fordham University  on a partial scholarship. She had given up on ballet at 15, “tired of giving her whole self over to something that never seemed to love her back.” But a Black principal dancer teaching ballet in a neighborhood church basement lured her back in. Abarca’s mother, a part-time telephone operator, was skeptical, but her father, a janitor from Puerto Rico, did not object. So began Abarca’s rise to international fame. 

With respectful attention to their occasionally troubled lives, Valby introduces Abarca’s peers: Sheila Rohan, Gayle McKinney-Griffith, Karlya Shelton and Marcia Sells. Their “lighthouse,” Arthur Mitchell, is portrayed in his all-too-human complexity, fighting to keep his company funded and recognized, and his ballerinas under his thumb. Mitchell cast a long shadow over the dancers; he was their champion, teacher and employer—and their most unrelenting critic. 

Valby’s extensive interviews with the dancers lend an intimacy to the narrative, the details of their lives elevated and their perspectives clearly observed. The women of the 152nd Street Black Ballet Legacy Council are determined to bring their story out of obscurity. In The Swans of Harlem, they become unforgettable.

Karen Valby’s spirited The Swans of Harlem brings the remarkable story of trailblazing Black ballerinas to center stage.
Biographer Susan Page paints a colorful portrait of trailblazer Barbara Walters in her compulsively readable The Rulebreaker.
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The Internet of Animals: Discovering the Collective Intelligence of Life on Earth is a bonkers, delightful read if you are interested in any of the following: space and satellites, animal migration and behavior, analog versus digital technology, and the many complications that come from following through on the whiff of a very good idea.

Scientist Martin Wikelski had such an idea decades ago: Tag large numbers of animals and track them digitally via satellite. He envisioned a global community of animal researchers all pursuing projects using the same satellite and tracking technology, and making some portion of the reams of resulting data public. In a moment of either brilliance or dark insight into the troubles ahead, he dubbed the project ICARUS: International Cooperation for Animal Research Using Space. From the beginning, this was a project that aimed to fly near the sun and see the world anew.

But like the mythic story of Icarus, there were unforeseen complications: identifying the technology needed to create a satellite, fine-tuning the technology needed to tag the animals effectively, and finding global collaborators. This story of scientific advancement is also, like so many others, tied up in cultural differences, funding, politicking and geopolitics. A project that Wikelski thought would take only a few years has taken decades, and it’s still unfolding. Still, his good idea remains as captivating as ever.

Wikelski probes the mysteries of the animal world and shares vivid anecdotes of field research, from unusually sociable rice rats in the Galapagos Islands, to a wandering egret who made friends with a family in Bavaria (when he was supposed to be migrating to a different continent). Wikelski situates these stories within the big questions about animals and how they live on Earth—what they know innately and what they could tell us, if they only had a way. He convincingly argues that these questions should animate us all, and his vision of creating a way for animals to communicate what they are remains a vital, galvanizing example of how human ingenuity and persistence can make a difference in how we understand the world around us.

The bonkers and delightful The Internet of Animals tells the story of author-scientist Martin Wikelski’s efforts to connect animal researchers across the globe, and understand animals anew.

Julian Randall’s The Dead Don’t Need Reminding: In Search of Fugitives, Mississippi, and Black TV Nerd Shit is a dazzling ghost story that braids intimate narratives with cultural commentary to explore the author’s own past, present and future.

Randall, a Chicago-born poet and author, opens The Dead Don’t Need Reminding in Oxford, Mississippi, where he is attending an M.F.A. program. There, living in the South for the first time in his life, he reflects on the origins of plantation-style architecture in the university’s modern-day fraternity houses and endures violent encounters with racists. He seeks out the history of his Southern-born great-grandfather who “fled his home under threat of tar and feather.” Throughout, he riffs on Miles Morales, Jordan Peele, “BoJack Horseman” and many more cultural touchstones to tell stories of his lineage, of himself and of the places that shaped his family. 

These are the “stories that shape us. The stories we turn to out of scarcity, the cousins we make out of characters.” While there are tender notes in his writing, Randall never avoids the violence of our American history and present, writing that “white supremacy is a death cult, a religion for the feral.” And, “America is a gaping mouth with an insatiable appetite for Black suffering, Black labor, Black cool, Black flex, Black silence, Black death.”

This is a story not just about a Black man surviving a visit to the Deep South, but about him staying alive long enough to learn where he came from. Our narrator invites us to witness his vulnerability and imagination, shepherding us through time and place from Chicago to the South and back again as he shares his research into his lineage and the depths of his depression. Through smart cultural critique to rich poetic imagery, Randall’s writing moves at a quick pace that reflects his city roots; but when he slows down to describe the lands and people that haunt him, we witness a gifted Southern storyteller. And so we gather on the porch, waiting to hear this story, low and soft, drifting through the kudzu.  

In The Dead Don’t Need Reminding, Chicago poet Julian Randall braids memoir, history and cultural criticism, revealing himself to be a gifted storyteller.
Aarathi Prasad’s entertaining and enlightening history of silk brims with story and scientific detail, revealing a surprising history well worth knowing.

Kathleen Hanna’s memoir, Rebel Girl: My Life As A Feminist Punk, is a timely refresher in resilience, the power of protest art and the tender humanity that we must not lose. Hanna, influential frontwoman of bands Bikini Kill and Le Tigre, reluctant leader of the Riot Grrrl movement of the 1990s and one of the most notable feminist artists of the past 30 years, recounts her heady and social protest-fueled life in the Seattle and Washington, D.C., music scenes. Like a comic book hero, Hanna has seemed to gather superhuman strength with every blow she receives, surviving a difficult childhood and dodging death threats during Bikini Kill’s rise to indie stardom, all while churning out ever more powerful and furious music. 

Rebel Girl unapologetically reveals the vulnerability behind that image, discussing the trauma and illness Hanna endured while being hailed as a feminist savior, assaulted by infuriated misogynists and torn down by fellow Riot Grrrls for being human. 

It’s now common to find books that document the angsty cultural soup of the ’90s, slickly packaged to inspire nostalgia for the sense of apathetic cool that’s attached to the decade. Where Rebel Girl diverges from these, and succeeds, is in Hanna’s refusal to unhook the headiness of the time from its more difficult and complicated aspects. She does not shy away from unappealing truths about the era, particularly the violence directed toward her and other women from within the overwhelmingly white and male punk scene, and the problematic aspects of the Riot Grrrl movement, with its lack of intersectionality and eventual dissolution into backbiting and purity politics. 

Hanna is equally straight-shooting when she reflects on her own failures and culpability, acknowledging them in a way that is refreshing and constructive. By illustrating how you grew, you can show others how to do the same. With Rebel Girl, Hanna intentionally busts open her feminist idol identity, liberating herself from our perceptions and serving some hard-won wisdom.

In Rebel Girl, Kathleen Hanna intentionally busts open her feminist idol identity, liberating herself from our perceptions and serving some hard-won wisdom.
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“You are about to read the story of a culinary revolution,” Koreaworld: A Cookbook proclaims as it launches into a frenetic exploration of Korean and Korean-inspired food spanning from Jeju Island to North Virginia. After focusing on more traditional offerings in its first half, this animated celebration jumps to new interpretations of Korean food, such as banana milk cake and Shin Ramyun with pita chips. Authors Deuki Hong and Matt Rodbard provide their own musings on different preparation styles—using 7UP to flavor pickles, for example—while peppering in cultural history and modern context. The authors spotlight chefs throughout Korea and the U.S. and all their various influences, which span a bevy of cuisines, from Jewish to Chinese.

The sheer volume of restaurants and people profiled causes the book to meander in a fashion that sometimes feels scattered, but the abundance of eclectic detail will appeal strongly to diehard Korean food enthusiasts. Hong and Rodbard’s familiar rapport with many of their subjects lends a personal feeling to Koreaworld that is accentuated by Alex Lau’s stylish, energetic photography. Anyone interested in exploring the wild, exciting new frontiers of Korean food will find this book a fresh delight.

 

Anyone interested in exploring the wild, exciting new frontiers of Korean food will find Koreaworld a fresh delight.
Tommy Tomlinson’s wry, witty Dogland leads readers behind the scenes and in front of the judges at 100-plus dog shows around the country.
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Disabled existence is a near-constant exercise in ingenuity. Writer and activist Leah Lakshmi Piepzna-Samarasinha calls it “picking the lock of our lives.” Sussing out where we fit, with whom and when we can finally just be is all part of our lifelong search for belonging, partnership and access that’s specifically cripped. 

Disability Intimacy: Essays on Love, Care, and Desire is the latest anthology edited by author and activist Alice Wong (Year of the Tiger). Its 40 contributors explore the myriad ways we disabled folks long for, cultivate and savor intimacy. Yep, it’s about sex. And friendship. And activism. And pets. And art. And the self. 

True to the principles of disability justice (a term coined by artist Patty Berne, creator of the disability justice-based performance project Sins Invalid), Disability Intimacy is intersectional and multifaceted, illuminating prismatic points where all the people, experiences and places we call beloved converge. 

In this memorable follow-up to her Disability Visibility anthology, Wong has curated a collection of essays from multiply marginalized disabled people, including writers and activists who are LGBTQ+, poor, multiracial and of color. In every case, Disability Intimacy contributors offer new ways to consider how the many facets of identity shape intimacy needs, desire and relationships. An essay by journalist s.e. smith meditates on the thoughts and emotions that come up during physical therapy; Rabbi Elliot Kulka explores the liberation found in rest while parenting; Piepzna-Samarasinha writes beautifully about longing and solitude. “My body is the oldest story in the world,” writes Naomi Ortiz. “Part broken, part brilliant, all nuance, disability offers a layer of perspective that is unique and profound.” 

Taken together, the perspectives in Disability Intimacy honor our collective grief over intimacy lost (or never shared). They celebrate the joy of found community and chosen family that comes with discovering similar lived experience. And they make you think about love, closeness and heartbreak in more complex and nuanced ways.

Disability is far from a monolith; readers may relate to and enjoy some parts of this collection more than others. That’s part of what makes Wong’s collections so affirming and real. This provocative, funny and insightful book will appeal to anyone looking for a deeper understanding of disabled identities, a greater appreciation for their own disabled ingenuity, or both.

In Alice Wong’s illuminating Disability Intimacy, writers explore the myriad ways disabled people long for, cultivate and savor intimacy.
In her stirring memoir, Committed, Suzanne Scanlon tracks her entwined reading and mental health histories.

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