First published in 1892, this novel is the coming-of-age story of Vera Baranstova, a young aristocrat who longs to devote her life to a cause.

From the Whiting Award–winning author of Pretend I’m Dead and one of the most exhilarating new voices in fiction, a “thoroughly delightfully, surprisingly profound” (Entertainment Weekly) one-of-a-kind novel about a cleaning lady named Mona and her struggles to move forward in life. Soon to be an FX television show starring Lola Kirke. Mona is twenty-six and cleans houses for a living in Taos, New Mexico. She moved there mostly because of a bad boyfriend—a junkie named Mr. Disgusting, long story—and her efforts to restart her life since haven’t exactly gone as planned. For one thing, she’s got another bad boyfriend. This one she calls Dark, and he happens to be married to one of Mona’s clients. He also might be a little unstable. Dark and his wife aren’t the only complicated clients on Mona’s roster, either. There’s also the Hungarian artist couple who—with her addiction to painkillers and his lingering stares—reminds Mona of troubling aspects of her childhood, and some of the underlying reasons her life had to be restarted in the first place. As she tries to get over the heartache of her affair and the older pains of her youth, Mona winds up on an eccentric, moving journey of self-discovery that takes her back to her beginnings where she attempts to unlock the key to having a sense of home in the future. The only problems are Dark and her past. Neither is so easy to get rid of. Jen Beagin’s Vacuum in the Dark is an unforgettable, astonishing read, “by turns nutty and forlorn…Brash, deadpan, and achingly troubled” (O, The Oprah Magazine). Beagin is “a wonderfully funny writer who also happens to tackle serious subjects” (NPR).

Richard Stites views the struggle for liberation of Russian women in the context of both nineteenth-century European feminism and twentieth-century communism. The central personalities, their vigorous exchange of ideas, the social and political events that marked the emerging ideal of emancipation--all come to life in this absorbing and dramatic account. The author's history begins with the feminist, nihilist, and populist impulses of the 1860s and 1870s, and leads to the social mobilization campaigns of the early Soviet period.

'When I finished Sara Baume's new novel I immediately felt sad that I could not send it in the post to the late John Berger. He, too, would have loved it and found great joy in its honesty, its agility, its beauty, its invention. Baume is a writer of outstanding grace and style. She writes beyond the time we live in.' Colum McCann Struggling to cope with urban life - and with life in general - Frankie, a twenty-something artist, retreats to the rural bungalow on 'turbine hill' that has been vacant since her grandmother's death three years earlier. It is in this space, surrounded by nature, that she hopes to regain her footing in art and life. She spends her days pretending to read, half-listening to the radio, failing to muster the energy needed to leave the safety of her haven. Her family come and go, until they don't and she is left alone to contemplate the path that led her here, and the smell of the carpet that started it all. Finding little comfort in human interaction, Frankie turns her camera lens on the natural world and its reassuring cycle of life and death. What emerges is a profound meditation on the interconnectedness of wilderness, art and individual experience, and a powerful exploration of human frailty.

Through surprisingly good storytelling, David "Don't Call Me Doctor" Landers takes us on a captivating spiritual adventure as he walks us through his personal evolution from dedicated Christian to devout atheist. But much more than autobiography, his story is woven with provocative psychological and philosophical commentary, including input from the likes of Lucretius, Freud, and the metal band Napalm Death. A rare style of intellectual but conversational and poignant but humorous makes for a highly accessible and enjoyable read. As the spiritual account winds down, the book transitions into a more rational exploration of the problems associated with religion-and even with spirituality in general. Everyone from outspoken atheists to moderate believers will be engaged, as David is able to critically evaluate spirituality without the hostility so common among modern atheist writers. At the book's climax, David develops the popular atheist conversation a little deeper by courageously exploring the implications of nihilism: If our deepest fears about the nature of reality were to be true, could we go on? By the end of Optimistic Nihilism, we begin to suspect that we could-and even wonder if a relatively nihilistic perspective paradoxically makes life more precious than any other scheme. A critical must-read for all students of spirituality, psychology, and humanity.

Originally self-published in 2003, now edited and designed by Ardent Press, still one of the most hard-nosed books to call the left to account -- with scathing, thoughtful rebuttals to those who continue to believe that the revolution is just a matter of consciousness-raising and recruitment, or that identity politics has anything to do with Marxist thought. Many will reject the materialism inherent in this analysis, but we appreciate the logical consistency (and the occasional brilliance of writing) of Monsieur Dupont; so refreshing in a world in which people withdraw to muddle-headedness in incoherent attempts to fit all topics into some kind of grab bag, attempts seemingly designed to avoid offense rather than to follow ideas through to their logical (or even illogical) conclusions. Unlike so many people who either reject theory all together (rather, who obscure the theory that they work from), or who embrace theory and ignore the ways reality doesn't fit their ideas, Msr Dupont reflected on their experience (and that of others) and changed their theory to suit their lives. We need more people who are willing to be unpopular, who work an idea until it groans, who reflect on real life experiences and then acknowledge the ways in which prevailing theory doesn't make sense, and who are then capable of challenging prevailing theory to be more coherent, more realistic, and more useful. species being could be considered a companion text to Nihilist Communism, or vice versa: reading them together has been helpful for some. Nihilist Communism refers more to specific political occurrences, and species being fleshes out some of the more esoteric ideas.

Utopia's Discontents provides the first synthetic treatment of the Russian revolutionary emigration before the Revolution. It argues that neighborhoods created by Russian exiles became sites of revolutionary experimentation that offered their residents a taste of their anticipated utopian future.