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It’s hardly groundbreaking news that the world is increasingly confusing and isolating. Deaths by despair continue to rise, and America has long been in a mental health care crisis. Our screens feed our wildest conspiracy theories and our equally wild celebrity fantasies, while distancing us from friends and family. We put our faith in “manifesting” our reality, while ignoring the advice of experts. We have access to never-before-imagined amounts of information, but we are no wiser. We contrive conflicts with people online whom we have never met. Our anxiety culminates in a nagging question: “Is it them, or is it me?” Amanda Montell, author of The Age of Magical Overthinking: Notes on Modern Irrationality, would probably answer, “It’s all of us.”

A linguist, podcaster and writer, Montell explored the links between language and power in her books Cultish and Wordslut. In her new book, Montell takes on an even more ambitious project: explaining how our cognitive biases combine with our brain functions to skew our perceptions of reality.

This is heavy stuff, but Montell combines erudition with humor and self-deprecation to make it accessible. Her explanations of a dozen cultural biases are clear and backed by research, while her cautionary tales of their destructive impact are personal, often hilarious and frequently moving. So, for example, her commitment to an abusive relationship was the result of the sunk cost fallacy—the conviction that “spending resources you can’t get back . . . justifies spending more.” Her affection for a thoroughly mediocre seat cushion that she made from “the innards of a neglected dog toy” is a charming symptom of the IKEA effect—that “we like things better when we’ve had a hand in creating them.” And our fascination with the vlogs of young women dying from painful disease is an example of survivorship bias. There is no condemnation or exasperation in this book, but there is plenty of humor, compassion and reason.

Reading The Age of Magical Overthinking feels like listening to your smartest friend give excellent advice. Hopefully, we’ll take it.

Amanda Montell explores our cultural and cognitive biases and their perilous consequences in the funny, compassionate The Age of Magical Overthinking.
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In his haunting debut, Death Row Welcomes You: Visiting Hours in the Shadow of the Execution Chamber, Tennessee journalist Steven Hale sheds light on a rarely seen part of American society: the places where more than 2,700 people await execution by the state.

Hale’s reporting began when, after a decade-long lull, Tennessee began executing the condemned at speed. He witnessed the first of seven executions that would take place over two years. Tennessee and other states have struggled to acquire the preferred lethal injection drug, pentobarbital, and a new three-drug protocol to be used instead was challenged in Tennessee court for amounting to cruel and unusual punishment—to no avail. 

A former staff writer for the alt-weekly Nashville Scene, Hale reports from Riverbend Maximum Security Institution through the lens of a group of regular visitors who provide condemned men with friendship and compassion in the years (sometimes decades) leading up to their death, including a Nashville reverend who has acted as an advocate and spiritual advisor for death row inmates since the 1970s. Hale writes vividly about the fear and boredom that marks daily life in a maximum-security prison, and how the visitors offer relief and fellowship. They bring friends and neighbors to their weekly meetings, including those who support capital punishment, thinking that the “best way to expose the inhumanity of the death penalty was to expose people to the humanity of the men condemned to it.” 

Death Row Welcomes You is an engrossing if sometimes harrowing read. Hale starkly recounts the crimes that led to death sentences, including gruesome murders, brutal sexual assaults and drug deals gone horribly wrong. Yet the book does not fixate on grisly details the way so many salacious podcasts and TV shows do. Hale delves into the childhoods of the men he profiles, many of whom experienced abject poverty, neglect and abuse, and presents these facts as important context in which to view the full scope of their crimes and subsequent state-sanctioned killing. These stories are balanced by moving accounts of the supportive relationships among the condemned men, like when a man chose to forgo his prison-provided last meal in favor of communing with his fellows over homemade pizzas, the ingredients plucked from their personal stashes. 

“The people, experiences and research that make up this book have changed my life,” Hale writes. “I hope that by preserving them here I can contribute in some small way to the idea that we are, all of us, capable of terrible and beautiful things.” Readers will reflect on this captivating, deeply reported story for years to come.  

Death Row Welcomes You is an enthralling, deeply reported story that captures the humanity of the condemned men on Tennessee’s death row.

At 40, Hanif Abdurraqib feels time’s passage. “Every hour that I live beyond what I anticipated my life to be feels like I’m just stealing time,” he says.

Abdurraqib has already left an indelible mark on America’s literary and cultural landscape. He is both prolific and diverse, successfully venturing into poetry, essay and music criticism. Whether he is writing about seminal hip-hop group A Tribe Called Quest (Go Ahead in the Rain) or Black performance (National Book Award finalist A Little Devil in America), or such wide-ranging topics as the ’90s rom-com You’ve Got Mail, Bruce Springsteen and public displays of affection, the MacArthur fellow blends observation, analysis and memoir. His writing reveals our most fervent desires and heartbreaks, and at times, his own, such as the untimely deaths of his mother and some of his friends.

“I write in hopes that my larger world becomes a little less lonely,” the author says.

With There’s Always This Year: On Basketball and Ascension, Abdurraqib turns his singular pen toward asphalt courts in neighborhood parks and waxed hardwoods in 10,000-seat arenas. If you’re thinking, “Basketball isn’t my thing,” fear not. By exploring the cultural nuances of the sport, Abdurraqib uses it as a lens through which to grapple with grief and legacy, place and beauty, our struggles and our strivings.

“You grow a legacy and mythology through word of mouth, through storytelling.”

Like a basketball game, There’s Always This Year is structured in four quarters that count down from 12 minutes. Poetic intermissions and timeouts offer moments of pause, sometimes mid-sentence, and a pregame chapter serves as the book’s introduction. This ambitious approach could be a distraction in less gifted hands, but here, the form adds to the immersive nature of the book and the tension of a clock that will inevitably run out. But before it does, Abdurraqib shows us what it means to ascend, like a player who launches himself from the foul line, he writes, “his arm stretched straight up, heavenbound, the basketball, an offering to the sky, but only for a moment.”

There's Always This Year by Hanif Abdurraqib

“I wanted to reframe my relationship with the passage of time,” he says. “Ascension felt like a really great way to describe continually crawling towards and beyond these ages that I had not anticipated myself getting to.”

Abdurraqib homes in on the basketball culture of his native and predominantly Black East Columbus, Ohio, neighborhood. It features the stories of several local and regional basketball players, many of whom never made it to the NBA. He chronicles the careers of local stars like Kenny Gregory, who was welcomed home from games by a parade of kids who followed his car in praise; and Estaban Weaver, whose posters hung in the homes of Eastside Columbus kids “who idolized him then, who idolize him always.” People like Coach Bruce Howard, who led Abdurraqib’s high school’s team to its first title win and who “never forgot a face,” transcend time.

These are names you are unlikely to find in basketball history books, on an ESPN debate show or on basketball Twitter. In a world that only values those who reach mainstream-determined peaks, such figures get left out of the historical record. For Abdurraqib, this reflects a misunderstanding of the nature of basketball culture and the power of storytelling in Black communities.

“I think there is a real purpose in living a life where you build a mythology around yourself that carries through generations,” he says. “It passes through young people saying ‘I saw this thing that you would not believe. Can I tell you about this thing I saw that you would not believe?’ You grow a legacy and mythology through word of mouth, through storytelling.”

For Abdurraqib, the basketball culture of East Columbus was a convener that cut across social and economic lines to bring disparate players and fans into a shared space: “There was this real democratization of the space. Kenny Gregory and Michael Red were high-school All-Americans, but they are playing alongside a guy who’s like a second-string point guard for the high-school team. Everybody’s coming from somewhere different, but that’s the team.”

There’s Always This Year is also about the power of place and community. East Columbus figures heavily in the text—not just as the backdrop for activity, but as a living, breathing organism animated by intergenerational connections, shared worldviews and vital creative energy. “I’m grateful not only to be from the east side of Columbus, but to grow up at the time I grew up,” Abdurraqib says. “I grew up in a neighborhood that was definitely poor or working class. But it never felt that way from inside.”

Though concerned with ascension, this is also a story of rootedness. Abdurraqib’s examination of a local community eschews common narratives that suggest that success for Black people requires an escape from home. Staying, for those from East Columbus, means remaining connected to a culturally vibrant community. “I still live on the east side of Columbus,” Abdurraqib says. “I never wanted this feeling of exodus. I began to think really hard about what it is to not want to make it out and, through that not making it out, redefine staying as something beyond failure.”

Basketball icon LeBron James exemplifies this tension between home and ascension. Known as one of the GOATs of the sport, LeBron’s skilled physical and cerebral play has translated to several NBA championships, personal awards, incredible wealth and one of the most recognizable names in popular culture. Abdurraqib offers an intimate depiction of LeBron’s rise from nearby Akron, Ohio, to global stardom, one that reflects LeBron’s symbolic meaning for Black Ohioans. “I do have an unshakable affection for LeBron’s rise,” says the author. “There’s a miraculous nature to the way his shadow cast over the state that I love.”

Despite his cultural ascendancy, LeBron also stands out as one of the most polarizing figures in professional athletics. A significant body of fans either downplay his accomplishments or want to see him fail. “Not only are there people waiting for him to fail,” says Abdurraqib, “but people are waiting for him to fail in a very specific way that aligns with this kind of thirst for the downfall of the Black megastar. They want these tragic endings that serve as a kind of performance for white audiences who hunger for these kinds of failures.”

“I write in hopes that my larger world becomes a little less lonely.”

In the book, Abdurraqib effectively synthesizes stories that differ in nature, scale and time. He also carefully weaves in details from his own life, using it as a connecting force that affirms and complicates key themes. He shares private episodes of love and loss, his relationship with his father, his experience with the criminal justice system and a period of being unhoused. Through his very public vulnerability, Abdurraqib wants to disrupt our black-and-white moral sensibilities. “I think people enjoy a rehabilitative story of someone who did bad things once and now is in better and giving to the world,” he says. “I don’t think that, internally, I am a better person. I am a more resourced person than I was, but I don’t think I’m better. I wanted to write to upset this binary of bad person makes good. Instead, we should be asking, ‘What are we subjecting ‘good people’ to?’”

The clock does eventually run out. But in the end, There’s Always This Year transcends time. “We go on living,” Abdurraqib writes, “while a past version of ourselves remains locked, peacefully, in a euphoric dream.”

This book is a revelatory addition to Abdurraqib’s incredible body of work, which has touched many souls and reoriented worldviews over the past decade. His own ascendancy is remarkable. His creative drive and cultural impact are the products of a very personal and heartfelt intention. “I feel like my purpose for myself is to reframe this kind of world that a lot of people feel brutally isolated from, or a world that cannot translate people’s desire to be seen within it or be held within it or be loved or thought of within it,” he says.

“I just hope my work does other people kindness. I just hope it shrinks all of our aches and all of our absences and all of our hungers a bit more if it can.”

Read our starred review of ‘There’s Always This Year’ by Hanif Abdurraqib.

Hanif Abdurraqib author photo by Kendra Bryant.

The A Little Devil in America author turns his singular pen to basketball—and how the sport illustrates our struggles and strivings.
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Inexperienced and often impulsive, teenagers can make dumb mistakes that they may spend the rest of their lives trying to rectify. Rene Quiñones was a San Francisco gang member who went to prison, then turned his life around as a violence prevention counselor and business owner. Sadly, his son Luis, nicknamed Sito, didn’t have the time to turn over a new leaf. Because of one poor decision, he was fatally shot in a revenge killing when he was 19 years old.

Author Laurence Ralph, a Princeton University professor who specializes in justice reform issues, is part of Sito’s extended family, and Rene turned to him for counsel after the slaying. Ralph’s moving, thoughtful third book, Sito: An American Teenager and the City That Failed Him, explores the tragedy from Ralph’s dual perspective as a grieving, frustrated relative and a juvenile justice scholar.

Sito’s road was rough from the start: His parents loved him but were so busy staying financially afloat and building new families that he felt abandoned. He turned his fear into acting out, “embracing machismo,” Ralph writes, and “putting himself at risk or pushing away the very people he loved and needed.” At 14 years old, he let an acquaintance talk him into straying onto rival gang turf. There, the acquaintance fatally stabbed another teenager.

Sito was arrested for this murder and incarcerated in a juvenile prison for three months before a private investigator found video footage showing that he was innocent—footage that the police and district attorney’s office had all along. Sito was released, but the victim’s family refused to believe he was innocent, and five years after the stabbing, the victim’s brother killed Sito in revenge.

Ralph blends his knowledge of Sito, his own memories of being a terrified boy from an immigrant family and his research into minority teens caught in an ineffectual justice system to create a harrowing account of Sito’s life. He witnesses the family’s tense interactions with police and prosecutors. He worries for his own children. And he shows how the rituals of the African diaspora religion Santeria helped to bring solace and spiritual understanding to Sito’s family.

Not long after Sito’s killing, Rene, still reeling from his loss, sat down with his son’s friends and persuaded them that retaliation was the wrong answer. Ralph, an advocate of restorative justice, dreams of true reconciliation that ends these cycles of violence. But the challenge remains formidable.

Sito is a harrowing, impactful account of a teenager caught in a cycle of violence and the juvenile justice system that failed him.
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In Language City: The Fight to Preserve Endangered Mother Tongues in New York author Ross Perlin examines a duality of the world’s most linguistically diverse city. Home to over 700 languages, 21st-century New York City is a vital nexus where people from all over the world can find others speaking their mother tongue; but the ever-increasing imperative to speak a dominant language like English or Spanish makes this also the place where these languages go extinct. 

Perlin, who is both a linguist at Columbia University and a co-director and researcher at the Endangered Language Alliance (ELA), is committed to researching and preserving the linguistic diversity of the city. “At the heart of linguistics itself,” he writes, “is a radical premise: all languages are cognitively and communicatively equal.” This ethos is evident in his writing and reporting as he first unpacks the history of Indigenous and migrant peoples’ arrivals in (and departures from) what is now known as New York, and then as he collaborates with six contemporary New Yorkers of radically different backgrounds who are completing meaningful projects to share and preserve their endangered languages. Perlin spent years (sometimes over a decade) with each of his collaborators on these ELA projects, and his narrative balances biography and linguistic analysis, letting their lives act as windows into the communities making up the multilingual microcosms of other continents tucked unassumingly into New York. 

Perlin brings the subject of linguistics down from the ivory tower and into the subway car or the corner bodega. He opens up the world of endangered languages to monolingual mainstream Americans by bringing compelling and driven native speakers of those languages to the table, as well as taking care to provide historical and cultural detail. However, the volume of information in the book, including geographic specifics of both New York and the world, can occasionally feel dense despite an approachable tone and clear explanations of concepts.

Language City reinforces the value of endangered language preservation and asks salient questions: What do we lose when we facilitate a monolingual society in both practice and policy? And how can we instead allow diverse languages to create a society that is more equitable, livable and inclusive? 

Language City reveals the New Yorkers working to save their endangered mother tongues, and offers a new way of viewing language.

The Latino community doesn’t exist as a monolith. Latin Americans hail from over 20 countries, each with its own unique ethnicity and culture. African, Spanish and Indigenous influences vary wildly but are consistently present in most groups. Labels like Hispanic or Latino don’t snugly fit this growing population, and some people shrug them off entirely.

Lauded author and Washington Post columnist Marie Arana admits early on in LatinoLand: A Portrait of America’s Largest and Least Understood Minority that she is “working with a deficit” in her attempt to capture the diverse experience of American Latinos. Yet by embracing the variety of this diaspora—and its people’s conflicting views on race, religion and politics—she comes as close to success as one can get.

The book at first functions as a survey, with brief chapters on Puerto Ricans, Mexican Americans, Cuban Americans and other Latino groups. While these historical accounts might not unearth anything unknown to Latin American scholars, Arana’s punchy writing style is engaging, informative and full of pleasant surprises, like her tale about the first Dominican to settle New York in the 1500s, centuries before a bodega opened in Washington Heights. 

Arana also tackles the plurality of Latino identities from other angles, including the morphing religious affiliations of Hispanic Americans and a thoughtful dismantling of the myth of the “Latino vote.” Short profiles contextualize the broader themes and history lessons; some of the stories related here are harrowing, some amusing, others mundane. The horrors of colonialism, segregation and genocide are everpresent.

LatinoLand features interviews with an impressive swath of Latinos, from undocumented custodians and emboldened activists to federal policymakers and religious leaders—though at times there does seem to be a reliance on higher-educated professionals. While Arana celebrates the diversity of American Latinos and doesn’t push for any kind of assimilation, she also appeals to traditional American values when making the case for Latino acceptance, pointing to their contributions to business, academia and the military. But her most salient argument is that Latinos have contributed so much more to this country than what’s acknowledged in the mainstream; by spotlighting unsung heroes like climate scientist Mario Molina and labor champion Dolores Huerta, she gives them their due. 

As Arana pieces together a vibrant collage of American Latino lives, she communicates her belief that solidarity is possible among this fractured cohort. Perhaps, one thinks, it can emerge from the shared experience of being underestimated and undervalued.

Reporter Marie Arana paints a thoughtful portrait of how Latinos have shaped—and been shaped by—the United States in this punchy cultural history.
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Morgan Parker, acclaimed poet and winner of a 2019 National Book Critics Circle Award for her collection Magical Negro, marries memoir with cultural critique in an unsparing, intimate and provocative book of essays, You Get What You Pay For, which infuses the titular idiom with the perspective of her wronged race. “Becoming a person,” she writes in the first essay, “forming an identity, had been a sham assignment from the start—for an African American person, there is a multistep process of backtracking and reinterpreting hundreds of years of American history, peeling apart film from adhesive to hold under the light and make out a cloudy reflection.”

Parker was named after a minor character in “The Cosby Show,” who, in her single appearance, comically eats olives despite knowing she’s allergic to them. Parker writes: “I come from . . . self-destructive impulses, swallowing what I shouldn’t, becoming a punchline.” Later, writing for the feminist platform Lenny Letter, she attended Cosby’s trial for sexual assault. “I’m one of maybe three Black women in the room . . . wrestling with that familiar triple-consciousness chicken or egg. Am I Black today or a woman? Where do I pledge allegiance? Which injustices should I fight first?”

Parker tells of her depression, anxiety and self-hatred, which she describes as “something palpable, something ugly and inadequate and all wrong.” She interrogates the relationships between Black people and treatment for mental illness, citing her father’s assertion that “Black people don’t go to therapy.” Eventually, she did. When a white therapist admitted she knew nothing about the rioting in Ferguson, Missouri, after Michael Brown’s death, Parker moved on. With time, she began to link her mental illness to that of her ancestors’ experience as slaves and the century-and-a-half of racism that has followed, “finally com[ing] to understand [self-hatred] as extension of the white supremacist ideologies permeating and governing the nation of which I am a citizen.”

The 22 essays in You Get What You Pay For cycle through Parker’s urgent concerns about white supremacy, police brutality, her often tenuous mental health and her ongoing search for love. She handles these heavy issues with incisive humor and a poet’s eye for detail. The “you” in that titular idiom becomes “we.”

Morgan Parker examines how racism and intergenerational trauma can affect mental health in her provocative, incisively humorous debut essay collection.
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As many as 114,000 Americans who die each year are unclaimed by relatives. Their remains are buried without ceremony, often in mass graves, unwitnessed by anyone who knew them. What circumstances conspire for human beings to meet this end? And what do their deaths say about how we treat the living? Pamela Prickett and Stefan Timmermans unearth some of their stories, unpacking questions both existential and practical in their groundbreaking The Unclaimed: Abandonment and Hope in the City of Angels.

The authors spent eight years investigating the bureaucratic hurdles, legislative failings and social ruptures that contribute to 1,600 unclaimed people in Los Angeles each year. Los Angeles County law stipulates that only next-of-kin can claim remains, but 1 in 4 adult Americans report being estranged from close family members. When relatives can be located, the costs associated with claiming remains are often too steep for them to bear; other times, they have no interest in claiming at all. What’s more, “bureaucratic apathy” and a muddled system relies on three separate departments to investigate the unclaimed.

The Unclaimed follows the stories of four Angelenos who went unclaimed for very different reasons: a reclusive elderly woman whose few surviving family members refused to claim her; a middle-aged woman beloved by her church family who, by law, could not claim and bury her; a veteran who slipped through the cracks; and a quiet man whose assets granted him a funeral that no one attended. Prickett and Timmermans also portray the death investigators who try to locate relatives with varying degrees of success; these civil servants are frustrated and exhausted, their departments understaffed and under-resourced. And the portraits the authors paint of the two civil servants who inter the unclaimed at the Boyle Heights cemetery—the “potter’s field” of L.A.—are extremely moving. Relying on 231 interviews, direct observation of death investigations, extensive research into 600 deaths, attendance of dozens of funerals and cremations, and more, Prickett and Timmermans humanize the dead with aching specificity, granting these few the honor that so many others deserve.

“If you die and no one calls out for you, did your life have meaning?” the authors ask. As the subtitle of the book suggests, there is hope, because more and more people are answering that call. In 2017, a pastor began organizing a memorial service for the unclaimed that draws droves of witnesses; veterans congregate to send off their siblings in arms; a nonprofit buries unclaimed infants in a special cemetery. The writing in this last third of the book sometimes veers into sentimentality, naming conclusions that readers can recognize themselves. But on the whole, The Unclaimed is a gripping and compassionate account that leaves us with a feeling of social and personal responsibility for our kin, our community and ourselves.

Gripping and groundbreaking, The Unclaimed investigates the Americans who are abandoned in death and what they tell us about how we treat the living.
STARRED REVIEW

Top 10 books for February 2024

Beloved and buzzy authors such as Tia Williams, Francis Spufford and Katherine Arden took new and exciting directions in February!
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The author of the marvelous Winterlight trilogy makes her grand return to historical fantasy with this haunting tale set during World War I. Former nurse

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Antonia Hylton’s Madness offers an unsparing reckoning with history as it excavates an infamous mental hospital for Black patients.

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Visit an alternate America where European colonization never took place in this intricately plotted police procedural from Francis Spufford.

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Jim Morris’ urgent, heartbreaking The Cancer Factory traces how a known toxic chemical destroyed the health, happiness and lives of Goodyear factory workers.

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Beloved and buzzy authors such as Tia Williams, Francis Spufford and Katherine Arden took new and exciting directions in February!
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More than 50 years since the founding of the Occupational Safety and Health Administration and the Environmental Protection Agency, it would be reasonable to assume that modern U.S. factories are safe places to work. Surely, workplace-caused mesothelioma, silicosis and cancers are things of the past, suffered only in the bad old days before safety regulations forced employers to take care of their employees’ health. But Jim Morris, veteran journalist and author of The Cancer Factory: Industrial Chemicals, Corporate Deception, and the Hidden Deaths of American Workers, knows better.

Morris focuses on Goodyear’s Niagara Falls plant, which manufactured anti-cracking agents for tires using ortho-toluidine, a powerful carcinogen that’s been known to be linked to bladder cancer since 1895. The Cancer Factory traces how this chemical destroyed the health, happiness and lives of the men who worked with it—and were sometimes even submerged in it—on a daily basis, without any safety equipment or knowledge of the dangers they were facing, even into the 21st century. 

Morris interviewed many families for the book, but none illustrates the matter more clearly than the family of Ray Kline, a Goodyear employee who worked for decades with some of the most carcinogenic chemicals at the plant with no protection. His clothes were drenched with the chemicals, and his wife, Dottie, who laundered them, eventually gave birth to two children with fatal birth defects. Their surviving daughter, Diane, grew up and married Harry Weist, another Goodyear factory worker. Ray and Harry both developed aggressive bladder cancer, enduring years of chemo, surgeries and epic misery.

Morris makes the case that the Goodyear bladder cancer cluster is emblematic of a much larger problem. He argues that corporate greed, broken regulatory agencies and hamstrung unions ensure that exposure to dioxins, asbestos, silica and hundreds of other hazards are not distant memories of our industrial past, but the lived reality of millions of workers today. Heartbreaking and infuriating, Morris’ storytelling jars the reader out of complacency. With luck, The Cancer Factory can also be an instrument for change.

Jim Morris’ urgent, heartbreaking The Cancer Factory traces how a known toxic chemical destroyed the health, happiness and lives of Goodyear factory workers.

For much of her career, Nell Greenfieldboyce has written about science for NPR, reporting on a range of topics, among them a giant collective of octopuses, asteroid dust, the color of dinosaur eggs and signs of life on Mars. In Transient and Strange: Notes on the Science of Life (Norton, $27.99, 9780393882346), Greenfieldboyce adds the personal to the scientific, threading the two together to create a memoir in essays.

In the book’s opening essay, “The Symbol of a Tornado,” Greenfieldboyce recounts a phase that most parents will recognize: the quest to calm her preschool-age son’s nighttime fears. When he first asks her about tornadoes, she eagerly lays out the facts—a misstep that only intensifies his anxiety. The essay braids substantial reporting on the history and science of tornadoes with her earnest fumbling as she tries to help her kids feel secure in an insecure world.

Some of Transient and Strange’s essays hew closer to science writing—in one, she charts the scientific community’s resistance to accepting black holes—while others go more deeply into personal essay territory, excavating pieces of her youth. The sweet, quirky “Automatic Beyond Belief” ties an ancient toaster to her parents’ faith, the stability of her childhood and her predictions about what her children will remember about their younger years. The 50-page essay that closes the book, “My Eugenics Project,” is a standout. It describes Greenfieldboyce’s strategies for coping with the knowledge that she and her husband might pass a devastating genetic mutation on to their children, her obsessive quest to solve this problem and how it has affected her marriage and family.

Throughout, Greenfieldboyce doesn’t spare herself or put on a wise affect; we see and relate to her foibles and fumbling. Transient and Strange is a book that you can read as the memoir of a woman who’s measuring the shape of life at its midpoint, and also as a series of essays riffing on a range of science-related topics. Either way, it’s a thoughtful, heartfelt and idiosyncratic collection.

Nell Greenfieldboyce’s thoughtful, idiosyncratic memoir in essays twines the personal with the scientific.
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On vacation in Rome in her early 20s, Elizabeth Flock was drugged and raped by a tour guide. She couldn’t defend herself during the attack, and she never reported it to the police. Over the years, she often wondered whether she would be better off if she had killed him the following morning. In The Furies: Women, Vengeance, and Justice (Harper, $32, 9780063048805), Flock, now an Emmy-winning journalist who has written for The New Yorker, the New York Times and The Atlantic, examines three women who did what she couldn’t do. It turns out the answer to her question is “maybe, but probably not.”

The figure of the avenging female is powerful and frightening. Flock notes that the Furies of ancient Greek mythology, who tormented Orestes, were hideous and pitiless—the stuff of nightmares. Flock makes a compelling argument that women who stand up for themselves are still seen in this same light. The three “furies” in the book certainly appear powerful and frightening, at least at first glance. The first, Brittany Smith, a young mother from Alabama, was imprisoned for murder after shooting the man who had brutally beaten and raped her. Flock travels to northern India to report on Angoori Dahariya, a Dalit woman who organized thousands of women to use bamboo canes to punish domestic abusers. In Syria, she reports on Cicek Mustafa Zibo, who joined an all-female militia to protect Kurdish women from the ISIS terrorists who were raping, torturing and murdering them.

Flock deeply admires these women for refusing to accept the terms of a society that prefers a dead, submissive woman to a living one who defends herself. But Flock also sees their frailty and their struggles. Brittany had lost custody of her four children due to her addiction to methamphetamines; at the time of her crime, she was off drugs and “confident all that was behind her.” Angoori can judge situations too quickly, sometimes with disastrous results. And Cicek is so traumatized by her physical and psychic war wounds that she becomes increasingly cut off from her family and her humanity. The women are drawn in shades of gray, and that is what makes The Furies so powerful. Brittany, Angoori and Cicek are not mythical figures, but ordinary, flawed humans who fight for their lives, their dignity and justice—despite the cost.

In The Furies, investigative reporter Elizabeth Flock follows three women who struck back at their abusers.

Anyone immediately transported to a riverside pier by the lyric “So open up your morning light” will love Thea Glassman’s Freaks, Gleeks, and Dawson’s Creek: How Seven Teen Shows Transformed Television. “Today’s teen shows are leading the charge when it comes to progressive, diverse, and creative storytelling,” Glassman writes, but they wouldn’t exist without the seven predecessors she covers in her impressive debut: “The Fresh Prince of Bel-Air,” “My So-Called Life,” “Dawson’s Creek,” “Freaks and Geeks,” “The O.C.,” “Friday Night Lights” and “Glee.”

In a wealth of new interviews with creators, writers, actors, crew and more insiders, Freaks, Gleeks, and Dawson’s Creek shares behind-the-scenes details that will delight devoted fans and excited newbies alike. While all of the shows drew heavily from their creators’ own teenage years, Glassman points out the unique choices and approaches that made each iconic. For example, “Fresh Prince” subverted typical sitcom format and “painted a nuanced picture of the Black experience. “My So-Called Life” inspired the first online campaign to save a show, and “Dawson’s Creek” had the first openly gay character in the teen sphere.

While Glassman acknowledges controversies that touched each show, she focuses on the creativity, heart and hard work that led to a groundbreaking era of teen TV. After all, as writer and pop-culture maven Jennifer Keishin Armstrong writes in her introduction, “There is no drama like teenage drama, in life and in fiction.”

This survey of seven teen shows explores how they broke ground with creativity, heart and hard work, paving the way for the genre’s progressive and diverse oeuvre today.

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