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.
Previous
Next

All Nonfiction Coverage

Filter by genre
Angela Garbes swoops from the universal to the intimate as she offers a vision of mothering that would improve our individual and collective lives.
Review by

To say that Brian Morton’s mother, Tasha, was “a woman of stubborn energy” is an understatement; from start to finish, she was a bona fide contrarian. For instance, after agreeing to a short trial stay at an assisted living residence in Teaneck, New Jersey, she literally did an about-face on move-in day. “I’m not going in there,” she said. “Take me home instead. Or take me to the city dump. Just dump me with the chicken bones. Or better yet, take me to the cemetery. Save yourself a trip later on.” Refusing to even step inside, she simply walked away, and Morton later found her sitting on someone’s porch, eating a banana.

Such are the myriad confrontations Morton describes in his hilarious yet tender memoir, Tasha. A novelist and professor at Sarah Lawrence College, he had spent much of his life trying to maintain distance from his mother, whose concept of boundaries could generously be described as “loose.” In junior high, if he was late for dinner, she would begin calling friends, hospitals and the police to search for him. Once he became an adult, she had little inclination to loosen the reins. However, once her health began to fail in 2010, after a stroke and the onset of dementia, Morton knew he had no choice but to step in.

At the age of 60, Morton was already juggling the demands of both his career and his family, including two sons in middle school. He is wonderfully honest about his hesitation to take on additional responsibilities for a parent or navigate the duties of the sandwich generation. He’s also careful to paint a complete picture of his mother’s life, including her nonstop educational activism and excellence as a pioneering elementary school teacher, particularly with disabled students. When Tasha’s husband suddenly died in 1984, she retired and sank into a despondency (likely undiagnosed depression) that she never overcame. Hoarding ensued, and in one memorable scene, Morton can’t convince his mother to throw away even one of five swizzle sticks—the mere tip of a true iceberg.

Morton excels at bringing his novelist’s eye to many such standoffs, including picking up his mother at the police station on more than one occasion. As he addresses the harsh realities of taking away a parent’s independence, trying to make that parent happy and trying (and failing) to procure adequate care, his superb storytelling skills add a helpful dose of levity. As a result, Tasha takes a difficult topic and transforms it into a soulful and often funny memoir about spirited mothers, refreshingly told from a son’s point of view. The book’s unique ending, which gives Tasha the last word, is an absolute tour de force.

Brian Morton’s hilarious yet tender memoir of caring for his aging mother takes a difficult topic and transforms it into the soulful tale of a spirited woman.
The venerable sci-fi writer Kim Stanley Robinson shares his lifelong devotion to hiking the high Sierra in a kaleidoscopic love letter to a majestic landscape.

You don’t need to know anything about the titular subject of Courtney Maum’s The Year of the Horses to appreciate this candid and engaging memoir of how rediscovering a long-abandoned passion helped lift her out of a crisis.

Four years after the birth of her daughter, Nina, novelist Maum found herself drowning in a whirlpool of insomnia-fueled depression, creative stasis and dissatisfaction in her marriage to Leo, a French filmmaker. “I am a blob,” she writes, “struggling through the hours with eyes that will not close.” In search of the relief that even medication and a wise-beyond-his-young-years therapist couldn’t provide, Maum turned to one of her childhood pursuits: horseback riding.

It had been 29 years since Maum abandoned riding lessons at age 9, but she never lost her love for these majestic creatures. Her first lesson as an adult—when “the heat of that beast underneath me, the breadth of his body and the pump of his great heart, had touched something primitive inside”—instantly rekindled her affection. That encounter eventually led her into the “weird sport” of polo, where she learned that putting aside the futile quest for mastery in favor of simply having fun was the path to finding joy.

Through flashbacks to her privileged childhood in Greenwich, Connecticut, Maum also explores some of the roots of her adult angst. Her parents divorced when she was 9, and her younger brother, Brendan, developed some rare and serious medical problems that added to the family’s stress. She traces how some of her more troublesome personality traits from that period—notably a perfectionism that eventually expressed itself as anorexia—continued to manifest in adulthood.

Maum emerged from finding her footing in the world of horses “clearer and braver regarding what I needed in my marriage,” simultaneously discovering a focus and patience that allowed her “to reconnect with the daughter I’d lost track of.” While Maum’s prescription isn’t for everyone, her story reveals how “what pulls us out of darkness can be surprising.” The Year of the Horses shows how the willingness to put aside fear and take on a new challenge in adulthood can unlock a happier life.

You don’t need to know anything about horses to appreciate Courtney Maum’s engaging memoir of rediscovering this long-abandoned passion at a moment of crisis.
Jessi Klein’s second essay collection is full of voicey, funny pieces that give unexpected dimension to the familiar topics of motherhood and midlife.

If Gary Janetti’s keenly observed memoir of his formative years, Start Without Me: (I’ll Be There in a Minute), is any indication, he’s always had a sharp eye and a sharper tongue.

That sarcastic sensibility has earned him fame and acclaim as a writer and producer for “Will & Grace” and “Family Guy,” creator of the British sitcom “Vicious” and star of the HBO Max animated show “The Prince.” Now, in this follow-up to 2019’s Do You Mind If I Cancel?, which focused on his career beginnings, the raconteur extraordinaire journeys back to his precocious childhood in 1970s and ’80s Queens, New York.

Those years had many glorious moments for Janetti, and readers will gleefully snort at his hilariously spot-on recollections. In grammar school, “The Carol Burnett Show” provided life-affirming joy. In freshman gym class, he discovered a prodigious talent for and love of square dancing. During his sophomore year, horrified by the prospect of football, he cleverly manipulated the system by spending gym periods with a guidance counselor (and drawing from soap operas to keep her hooked on his imaginary troubles). Always, movies and TV were a balm for his inability to connect with other kids and his fear of people finding out who he really was. “The things I liked, I liked too much. The things I didn’t, all other boys did,” he writes.

Some essays give insight into how things got better for the grown-up Janetti, providing moments of loveliness among the operatic complaining. For example, after a lengthy critique of destination weddings, Janetti reveals with a wink that he married TV personality Brad Goreski on a Caribbean cruise.

Start Without Me is equal parts acid and heart. It’s a collection of sardonically funny stories about a firecracker of a kid who hadn’t yet found his kindred spirits. It’s a series of entertaining tirades about life’s indignities. And it’s an engaging look at the origin story of a man who, despite years of self-doubt, has finally embraced his particular superpowers.

Gary Janetti’s keenly observed, hilarious memoir of his formative years in 1970s and ’80s Queens is equal parts acid and heart.
Review by

Tajja Isen’s debut essay collection reveals her as a multihyphenate talent—voice actor, singer, editor, writer, law school graduate—with a delicious knack for wordplay and language. In Some of My Best Friends: Essays on Lip Service, Isen writes about the disparity between the “token apologies and promises” made by white people and what Black people actually want and take for themselves.

The strongest essay, which lends its name to the book’s title, examines the relationship white women have to power and pain, which Isen dubs the “aesthetics of vulnerability.” Continuing a thread from the previous essay about the popularity of Black trauma writing, Isen looks at how self-indulgence has been romanticized by white female artists. “If you’re always in pain you’ll never want for material,” she writes of these white artists’ impulse to glamorize their sadness.

Another standout essay is “Hearing Voices,” Isen’s personal exploration of voice acting as a transformative and potentially empowering art form. In addition to outlining her own experiences as a Black voice actor, she discusses “Big Mouth,” “Central Park” and “The Simpsons,” three animated shows that cast white actors to voice nonwhite characters and then apologized for this choice in 2020.

This essay also underlines a central weakness of the book: It already feels dated. Scanning the table of contents feels like reading a list of Twitter’s most popular trending topics from 2020. In the churn of the modern news cycle, it seems inevitable that not every moment referenced would have cultural staying power, but it’s especially frustrating when Isen chooses intentionally ephemeral data points, like viral trailers for made-for-TV movies or deleted Instagram posts.

In the book’s most compelling moments, Isen makes the churn the point: Whatever Starbucks or Lena Dunham did and subsequently apologized for in 2020 is something they’ll do again in 2030. Rather than revealing a new issue, the “Big Mouth” casting controversy confirmed something Isen had already learned early in her voice acting career: “The problem is the ivory grip on what Black sounds like.”

Throughout the collection, Isen engages the greatest hits of leftist Twitter discourse but with the type of nuance that’s impossible in 280 characters. She admits to “keeping an eye on the writers at the vanguard, seeing what kind of behavior gets rewarded,” and that’s reflected in the originality of Some of My Best Friends’ content—but it’s Isen’s original perspective and clever language that will win over readers.

Tajja Isen’s debut essay collection reveals her as a multihyphenate talent with a delicious knack for wordplay and language.
Bestsellers
STARRED REVIEW

April 19, 2022

Best of the bestsellers

Hundreds of books have hit the bestseller lists so far this year, but which ones deserve the hype? We think these 13 titles earned their places on the list.

Share this Article:
Review by

As she has consistently proven in historical novels such as The Alice Network and The Rose Code, Kate Quinn is a master at crafting an intoxicating, well-balanced blend of immersive period details and deft character work. With The Diamond Eye, she returns to the fertile storytelling terrain of World War II for a tale inspired by the extraordinary life of Russian sniper Lyudmila “Mila” Pavlichenko, known as “Lady Death.”

Mila becomes a mother at 15; six years later, amid an impending divorce, she promises her son that she’ll teach him to shoot. In between working on her dissertation at Kiev University and raising Alexei, she finds that she’s brilliant with a rifle. When the Nazis invade the Soviet Union, her elite skill becomes a key asset in the Red Army’s fight to defend the motherland. Mila sets off for war and marches into her own legend.

In each of her novels, Quinn displays an innate awareness of how history can be warped by time and power. In The Diamond Eye, we don’t just follow Mila’s journey into war; we see her actions in sharp contrast to what the Soviet government will later say she’s done. Mila’s perceptions of events are shown in relief to those of the men around her, and even to the perceptions of the American public, thanks to a 1942 press tour hosted by first lady Eleanor Roosevelt. That press tour forms the novel’s narrative spine, unfolding in sections that alternate with Mila’s larger wartime odyssey. This structure steadily ratchets up the suspense as it becomes clear that Mila is not as welcome in the U.S. as she was led to believe.

The Diamond Eye is a remarkable combination of immersive wartime storytelling, rich detailing and wonderful pacing. What really makes The Diamond Eye land, though, goes beyond Quinn’s mastery of her chosen genre. This is, first and foremost, an exceptional character piece, a study of a woman who is a killer, a mother, a lover and, above all else, a survivor.

Kate Quinn’s track record for delivering captivating historical fiction continues with the remarkable story of the notorious Russian sniper known as Lady Death.

Serena Drew is returning to Baltimore after a daytrip to meet her boyfriend’s family. As she and her boyfriend wait for their train home, she thinks she spots her cousin Nicholas Garrett. Her boyfriend is incredulous; how can she be unsure whether or not the man is her cousin? But Serena doesn’t come from the sort of family in which first cousins recognize each other in the wild.

Anne Tyler is a master of interpersonal drama and intricate depictions of characters’ lives. Her astute observations have earned her a Pulitzer Prize (Breathing Lessons) and two turns as a Pulitzer finalist (Dinner at the Homesick Restaurant and The Accidental Tourist), among other accolades. In French Braid, her skilled storytelling once again takes center stage as she reveals the minor family dramas that have resulted in Serena’s inability to positively identify her cousin. Chapter by chapter, Tyler follows a different member of the Garrett family, beginning with a family vacation in 1959 and ending in spring 2020.

As Tyler turns her attention to each Garrett, she reveals finely honed character portraits. Daughters Lily and Alice are opposites, and their little brother, David, often goes his own way. Mother Mercy searches for her identity as the kids grow up and leave the house, but father Robin is left confused; he has always been content with his home and family exactly as they were.

Each chapter is as well-crafted as a short story and reveals the heart of its central character. Tyler weaves these individual tales together to build something even greater, and like the braid of the novel’s title, this interpersonal family drama becomes more substantial as its pieces combine.

“That’s how families work, too,” says David, reflecting on the lasting effect of a French braid. “You think you’re free of them, but you’re never really free; the ripples are crimped in forever.” (His wife laughs and asks, “You are finding this out just now?”)

French Braid is a case study of the circumstances and interactions that shape the lives of one family.

Anne Tyler is a master of interpersonal drama, and her skilled storytelling takes center stage in French Braid.
Review by

Reeling from loss, a woman takes the trip of a lifetime in One Italian Summer by bestselling author Rebecca Serle (In Five Years).

Thirty-year-old Katy Silver used to have it all: an adoring husband, a comfortable home near her family in Los Angeles and a rock-solid friendship with her mother, Carol. But her mother’s death turned everything upside down. Suddenly nothing makes sense or feels right for Katy, not even her marriage. After the funeral, she wonders, “If your mother is the love of your life, what does that make your husband?” Katy doesn’t have an answer, but she knows she needs change.

So Katy leaves all her commitments behind and travels to Positano, Italy—a place her mother spent the summer 30 years ago, and where Carol and Katy had dreamed of visiting together. There, Katy stays at the gorgeous (and very real) Hotel Poseidon, and she immerses herself in the Amalfi Coast.

That may sound capricious, but to Katy these choices are necessary, even if she can’t quite explain why. What Katy doesn’t count on is running into a woman who looks and sounds exactly like Carol would have at 30—and even shares both her mother’s name and profession. Without understanding how it’s possible, Katy gets to know a different side of her mother as a young woman, and One Italian Summer becomes a sumptuous and sensuous feast of a book.

On a deeper level, Serle’s novel is a savvy meditation on the necessity of change and how roles shape what we see of each other. Carol was always stylish, beautiful and strong-willed, but marriage and motherhood made her cautious. The woman whom Katy befriends on the Amalfi Coast is free and adventurous, and this spirit rubs off on Katy.

One Italian Summer isn’t just about wild oats and adventure either—it’s about knowing yourself. Carol made some mistakes along the way: She was almost an idol to her daughter instead of a teacher, and now Katy doesn’t know how to function without her. In Italy, Katy is sunnier and more willing to experiment, even getting to know an older real estate investor who could be a potential love interest, while her marriage hangs in limbo.

For readers open to moral complexities, One Italian Summer is a thoughtful, fun escape, blending contemplations of love and loss with a touch of adventure. It’s also a beautiful tribute to the pleasures of Italian culture.

Read more: Actor Lauren Graham narrates the ‘One Italian Summer’ audiobook.

For readers open to moral complexities, One Italian Summer is a thoughtful, fun escape, blending contemplations of love and loss with a touch of adventure.
Review by

Every 10 years, the secretive Alexandrian Society, inheritors of the lost knowledge from its namesake library, recruits six of the most powerful young magic users, or medeians, to join their ranks. The half-dozen potential initiates are brought to the Society’s headquarters, where they study and learn from the greatest compendium of magical knowledge that has ever existed. This year, Caretaker Atlas Blakely has selected a sextet of particularly ambitious young medeians: three physical mediums, who specialize in manipulating external forces and energies for purposes as varied as deflecting bullets and obtaining midnight snacks; and three nascent masters of the mental, emotional and perceptual magics of reading minds and concealing acne. But these newest residents are confronted with even darker secrets than the arcane knowledge they all covet, for they are the linchpins in a conspiracy that could either save the world or utterly destroy it.

For a book with such a melodramatic premise (think “Big Brother,” but half the cast can read their companions’ minds and the other half can conjure actual black holes), Olivie Blake’s The Atlas Six is curiously matter-of-fact, dispensing with on-page relationship drama and coasting through tense fight scenes with brevity. Likewise, instead of providing flowing backstory, Blake communicates personalities through lighthearted conversations and depicts the world outside the Library’s magically warded walls entirely through the scars it left on her protagonists. The Atlas Six is stingy with its exposition, with the lengthiest passages being debates between characters on topics such as the nature of time and the conservation of magical energy. But in Blake’s hands, these tracts are engaging and often very, very funny. This duality—an extremely pulpy plot married with smart and nimble writing—is the core of The Atlas Six’s appeal.

This macabre romp of a magical reality show nevertheless revolves around one weighty question: Is there knowledge that should not be shared? Blake draws heavily on the structures and practices of academia, which in our world is in the midst of a push for greater transparency and democratization of knowledge. Analyzing the costs and benefits of advanced technology or abilities has been central to speculative fiction since its inception. That Blake is using academia as a vehicle for it, adding her agile and cutting voice to the likes of Neal Stephenson and Cixin Liu, feels particularly relevant to the present moment. And if she happens to suggest some legitimately wholesome uses for small wormholes along the way, all the better.

Olivie Blake marries an extremely pulpy plot with smart and nimble writing in her debut fantasy, The Atlas Six.
Review by

Several years ago, in Ford’s Theatre Museum in Washington, D.C., I found myself staring at the Deringer pistol that John Wilkes Booth used to assassinate President Abraham Lincoln. I stood there, transfixed, amazed that this small, surprisingly delicate and decorative weapon could change the course of American history. I felt similarly mesmerized as I devoured the 480 pages of Karen Joy Fowler’s triumph of a historical novel, Booth. I was torn by conflicting urges: to race ahead to see what happens next, or to read slowly and savor Fowler’s exquisite language and fascinating rendering of the various members of this legendary American family.

Many readers will begin Booth with the basic knowledge that John Wilkes Booth came from a famous theatrical family, but it’s unlikely that they’ll know just how celebrated and fascinating the Booths were, or that their lives were full of drama well before John Wilkes picked up that pistol. Think of Louisa May Alcott and her storied New England upbringing, and then pivot to something darker.

Fowler has previously written several short stories about the Booths and explains in an author’s note that she decided to write about them in novel form “during one of our American spates of horrific mass shootings.” She wondered about “their own culpability, all the if-onlys” and “what happens to love when the person you love is a monster.”

The Booths’ lives play out on their 150 acres of farmland in Bel Air, Maryland, in a mixture of 19th-century horror and family drama. John Wilkes was born in 1838, the ninth of 10 children, four of whom would die before reaching adulthood. They faced poverty, hunger and disease while patriarch Junius Booth, a famous Shakespearian actor, was on tour much of the year. He was an alcoholic with deep, dark secrets, which Fowler hints at with one simple sentence early on: “A secret family moves into the secret cabin.”

The story is told primarily by three of John Wilkes’ siblings—Rosalie, Edwin and Asia—all of whom are equally fascinating and well voiced. Early scenes narrated by Rosalie are particularly powerful and memorable. Fowler includes short passages about Lincoln and his family, ratcheting up the tension of what’s to come. With a master’s touch, she also incorporates vital depictions of racism through the lives of an enslaved family that works on the Booth farm, and shows how the issue of enslavement divides the Booth family through the years.

Like the very best historical novels, Booth is a literary feast, offering much more than a riveting story and richly drawn characters. It offers a wealth of commentary about not only our past but also where we are today, and where we may be headed.

Karen Joy Fowler discusses the literary and political inspiration behind ‘Booth,’ her wholly original American history novel.

Karen Joy Fowler’s Booth is a triumph in its fascinating rendering of a legendary American family.
Review by

Amy Bloom is known for examining the dynamics of intimate relationships in her fiction (White Houses, Lucky Us), yet never has she gotten closer to the flame than in this memoir of her marriage. In Love begins, as Blooms puts it, with a “not quite normal” trip to Zurich. She traveled there with her husband, Brian, in January 2020, but the plan was for her to return without him. This is because her husband was pursuing a medically assisted suicide following his diagnosis of early-onset Alzheimer’s disease.

In the compressed, gripping pages that follow, scenes alternate between the couple’s grim journey and the strenuous months that led up to it. “I’d rather die on my feet than live on my knees,” Brian commented within days of his diagnosis. Because he was already experiencing mild dementia, it fell to Bloom, who had always been strong and resourceful, to figure out the logistics of what came next. The window of opportunity was small: A key criterion of an accompanied suicide is that the patient should be capable of making an independent and firm decision. With pressure mounting, Bloom explored options on the dark web, wept with friends and therapists, and received deep, unshakable support from the people she loves, including her sister, who gave her $30,000 to cover the next few months’ costs. (Medically assisted suicide is not inexpensive.)

Bloom, in turn, was steadfastly present to Brian, though the couple’s emotional connection, she makes clear, flickered unevenly. The mundane was still inescapable. Words spoken hastily were regretted for months afterward. Suffering simply hurts, but Bloom shares the details without flinching. “Please write about this,” Brian exhorted her.

Just as Bloom found comfort in watching videos made by families navigating this impossible situation, In Love now offers comfort to those who follow in her footsteps. People who are disturbed by the way death in the United States seems increasingly impersonal, or passionate about giving the people they love agency to do what they want to do, will strongly connect to this book—but so will anyone interested in deep stories of human connection.

Amy Bloom is known for examining the dynamics of intimacy in her fiction, but she has never gotten closer to the flame than in this memoir of her marriage.

Sign Up

Sign up to receive reading recommendations in your favorite genres!

 

Recent Features

The editors of BookPage highlight their favorite books that are riding the bestseller lists this year.

Parents express affection in different ways. The care packages Mary Laura Philpott received when she was in college are a perfect illustration: If the package was from her mother, it would contain sweets, maybe something practical, perhaps money. But if her dad sent the box, it was almost always filled with canned food. It became a joke between Philpott and her roommate—“Here we go, another bomb shelter box”—as they slowly worked their way through the accumulated display of her father’s care. 

Now, as a mother of two, Philpott expresses her love for her children through worry, often wishing for an actual bomb shelter to protect her family from every affliction.

This was especially true the morning Philpott and her husband, John, awoke to an unusual sound: a thump that turned out to be their teenage son in the throes of a seizure. Philpott’s anxiety levels skyrocketed in the aftermath of this event, and she began obsessing over ways to protect her boy and his younger sister.

The bestselling author of I Miss You When I Blink reflects on her life among the stacks.

Bomb Shelter is full of laugh-out-loud moments as Philpott weaves her recollections of growing up with present-day observations about her children’s adolescence. However, she is equally gifted in delivering heartbreaking moments, such as her husband rifling through their son’s belongings looking for any sign of a vape pen in an attempt to explain the seizure. (“He stuck a USB thumb drive in his mouth and tried to suck air through it. Nothing.”)

Fans of Philpott’s previous essay collection, I Miss You When I Blink, will find even more to love in Bomb Shelter. As Philpott grapples with anxiety, she seeks—and gives—comfort in the world around her. During the COVID-19 pandemic, for example, she prepared a Christmas dinner for a college-age couple who couldn’t go home for the holiday. “You build, if not an actual shelter, a box of food,” she writes. “You let that surge of caretaking energy go where it can—if not into saving the world, into saving this one day, or at least this one meal, for this one pair of people.”

Philpott’s openhearted joy and fear is relatable regardless of your parenting status—a reminder that, even amid the most frightening challenges, we are rarely alone.

The openhearted joy and fear woven throughout Mary Laura Philpott’s second memoir-in-essays is relatable, even comforting.

In his urgent new book, Fire and Flood: A People’s History of Climate Change, From 1979 to the Present, journalist Eugene Linden gravely explains why the world has failed to stop the ongoing catastrophe of climate change. He begins with the 1980s, when climate change first became widely known as “global warming.” As temperatures began to rise around the world, scientists sounded the alarm and made dire predictions of what was to come, yet the public was largely uninterested. Meanwhile, the fossil fuel industry maintained its outsize stranglehold on our economic and political systems—all in the name of profit.

Next Linden tackles the 1990s, when India and China became more industrialized, multiplying their greenhouse gas emissions exponentially. Following western nations’ lead, they had invested in mostly coal power, sending climate change into overdrive. This was also the decade when the Kyoto Protocol was enacted to curb greenhouse gas emissions, but in the end it did little to mitigate the effects of climate change, and the nations of the world maintained their collective dependence on fossil fuels.

Linden outlines all the ways the fossil fuel industry and the business community as a whole questioned the existence of climate change in bad faith in the 2000s. Despite evidence and numerous warnings, they actively downplayed the severity of climate change, aided by a decadeslong misinformation campaign. In fact, the first decade of the new millennium was the warmest decade on record, but even then the fossil fuel industry and its monied interests continued to dismiss the gravity of climate change.

By 2010, superstorms and massive wildfires were commonplace occurrences, rather than fluke events that happened once every century. Climate change is here, Linden declares, and we can no longer deny it. 

Although this is a deeply serious subject, there is still much to be hopeful about, and Linden ends Fire and Flood on a positive note. As coal companies go out of business and electric car companies become the norm, a new light may be shining up ahead. Experts anticipate trillions of dollars of investments in renewable energy, new green industries and new jobs over the next 30 years. The public is demanding change, and that, Linden emphasizes, is where our power lies.

If you’ve ever wondered how we got here, this sobering and accessible history deftly outlines government failures, missed opportunities and the steps we can take to turn the tide.

Eugene Linden’s sobering and accessible history of climate change deftly outlines how we got here and what steps we can take to turn the tide.

Want more BookPage?

Stay on top of new releases: Sign up for our newsletter to receive reading recommendations in your favorite genres.

Trending Nonfiction

Author Interviews

Recent Features