Featuring work by: Karen AcklandEvan AndersAaliyah BilalJohn BlairJaswinder BolinaLilah ClayGeorge CotkinBrad CrenshawTandy CronynDonna L. EmersonEthan FeuerAmy A. FoleyTim GriffithAlan GrossS. Afzal HaiderSyed Ishaq HaiderShen HaoboBella Hayes-RothRaymond HummelKristopher JansmaStephen KesslerThomas LeeMichael MilburnA. MolotkovJacob Anthony MonizDelia C. PittsSarena PollockRichard ProutyMolly QuinnMalcolm RothmanYan Sham-ShackletonMatthew SociaCutter StreebyShoshana SurekGabriella R. TallmadgeAmanda UhleAnthony VaralloPrimo VentelloJohn WalserZachary WattersonR. Hunter WhitworthJennifer WortmanLiang Yujing

Featuring work by: Walid Abdallah * Matt Baca * Gabriella Bedetti * Chris Bentley * Sebastian Bitticks * Don Boes * Don Bogen * Paola Bruni * Jessica Campbell * Kevin Clark * Mark Crimmins * Robbie Curry * Ron Dean * Dante Di Stefano * Raoul Felder * Sonia Feldman * Andy Fogle * Mike Gillis * Farouk Goweda * João Luís Barreto Guimarães * Stephen D. Gutierrez * Samina Hadi-Tabassum * Becky Hagenston * Harrison Hill * Charles Hood * Fred Hood * Julie Jones * Robert Kerwin * Ronald Kovach * Jessie Kraemer * Nasma Kublawi * Lynn Martin * Michela Martini * Bruce McKay * Elizabeth McKenzie * Henri Meschonnic * Tom Miller * Yxta Maya Murray * Jonathan Muzzall * Calvin Olsen * Romeo Oriogun * Derek N. Otsuji * Cassandra Passarelli * Micah Perks * Andrew Porter * Jory Post * Kristel Rietesel-Low * Giacomo Sartori * Vandana Sehrawat * Neal Snidow * Eleanor Spiess-Ferris * Joseph Thomas * Andreas Trolf * Marcos Villatoro * Maria Zoccola

National Book Critics Circle Award Winner National Bestseller Lambda Literary Award Finalist NAMED ONE OF THE BEST BOOKS OF THE YEAR BY TIME * NPR * The Washington Post * Kirkus Reviews * Washington Independent Review of Books * The Millions * Electric Literature * Ms Magazine * Entropy Magazine * Largehearted Boy * Passerbuys “Irreverent and original.” –New York Times “Magisterial.” –The New Yorker “An intoxicating writer.” –The Atlantic “A classic!” –Mary Karr “A true light in the dark.” –Stephanie Danler “An essential, heartbreaking project.” –Carmen Maria Machado A gripping set of stories about the forces that shape girls and the adults they become. A wise and brilliant guide to transforming the self and our society. In her powerful new book, critically acclaimed author Melissa Febos examines the narratives women are told about what it means to be female and what it takes to free oneself from them. When her body began to change at eleven years old, Febos understood immediately that her meaning to other people had changed with it. By her teens, she defined herself based on these perceptions and by the romantic relationships she threw herself into headlong. Over time, Febos increasingly questioned the stories she'd been told about herself and the habits and defenses she'd developed over years of trying to meet others' expectations. The values she and so many other women had learned in girlhood did not prioritize their personal safety, happiness, or freedom, and she set out to reframe those values and beliefs. Blending investigative reporting, memoir, and scholarship, Febos charts how she and others like her have reimagined relationships and made room for the anger, grief, power, and pleasure women have long been taught to deny. Written with Febos' characteristic precision, lyricism, and insight, Girlhood is a philosophical treatise, an anthem for women, and a searing study of the transitions into and away from girlhood, toward a chosen self.

PULITZER PRIZE FINALIST NATIONAL BOOK AWARD FINALIST A NEW YORK TIMES TOP 10 BOOK OF 2018 LOS ANGELES TIMES BOOK PRIZE WINNER ALA CARNEGIE MEDAL WINNER THE STONEWALL BOOK AWARD WINNER Soon to Be a Major Television Event, optioned by Amy Poehler • One of the New York Times’s 100 Best Books of the 21st Century “A page turner . . . An absorbing and emotionally riveting story about what it’s like to live during times of crisis.” —The New York Times Book Review A dazzling novel of friendship and redemption in the face of tragedy and loss set in 1980s Chicago and contemporary Paris In 1985, Yale Tishman, the development director for an art gallery in Chicago, is about to pull off an amazing coup, bringing in an extraordinary collection of 1920s paintings as a gift to the gallery. Yet as his career begins to flourish, the carnage of the AIDS epidemic grows around him. One by one, his friends are dying and after his friend Nico’s funeral, the virus circles closer and closer to Yale himself. Soon the only person he has left is Fiona, Nico’s little sister. Thirty years later, Fiona is in Paris tracking down her estranged daughter who disappeared into a cult. While staying with an old friend, a famous photographer who documented the Chicago crisis, she finds herself finally grappling with the devastating ways AIDS affected her life and her relationship with her daughter. The two intertwining stories take us through the heartbreak of the eighties and the chaos of the modern world, as both Yale and Fiona struggle to find goodness in the midst of disaster. Named a Best Book of 2018 by The New York Times Book Review, The Washington Post, NPR, San Francisco Chronicle, The Boston Globe, Entertainment Weekly, Buzzfeed, The Seattle Times, Bustle, Newsday, AM New York, BookPage, St. Louis Post-Dispatch, Lit Hub, Publishers Weekly, Kirkus Reviews, New York Public Library and Chicago Public Library

From the USA Today Bestselling author of The Magician's Lie "Macallister is becoming a leading voice in strong, female-driven historical fiction. Exciting, frightening, and unspeakably moving..."—Erika Robuck, bestselling author of Hemingways's Girl For the first daring female Pinkerton detective, respect is hard to come by, but danger and spies are everywhere. In the tumultuous years of the Civil War, the streets of Chicago offer a woman mostly danger and ruin—unless that woman is Kate Warne. As an undercover Pinkerton detective, Kate is able to infiltrate the seedy side of the city in disguises that her fellow spies just can't manage. She's a seductress, an exotic foreign medium, a rich train passenger—all depending on the day and the robber, thief, or murderer she's been assigned to nab. But is it only her detective work that makes her a daring spy and a clever liar? Or is the real disguise the good girl she always thought she was? As the Civil War marches closer, Kate takes on her most pressing job ever. The nation's future is at risk, and she's no longer sure where her disguise ends and the very real danger begins. With magnificent historical detail, Girl in Disguise brings the adventures of one turn-of-the-century woman to tense, page-turning life. Also by Greer Macallister: The Magician's Lie Woman 99

There are few creative acts more mysterious and magical than writing a song. But what if the goal wasn't so mysterious and was actually achievable for anyone who wants to experience more magic and creativity in their life? That's something that anyone will be inspired to do after reading Jeff Tweedy's How to Write One Song. Why one song? Because the difference between one song and many songs isn't a cute semantic trick—it's an important distinction that can simplify a notoriously confusing art form. The idea of becoming a capital-S songwriter can seem daunting, but approached as a focused, self-contained event, the mystery and fear subsides, and songwriting becomes an exciting pursuit. And then there is the energizing, nourishing creativity that can open up. How to Write One Song brings readers into the intimate process of writing one song—lyrics, music, and putting it all together—and accesses the deep sense of wonder that remains at the heart of this curious, yet incredibly fulfilling, artistic act. But it’s equally about the importance of making creativity part of your life every day, and of experiencing the hope, inspiration, and joy available to anyone who’s willing to get started.

A timeless classic of economic theory that remains fascinating and pertinent today, this is Frank Knight's famous explanation of why perfect competition cannot eliminate profits, the important differences between "risk" and "uncertainty," and the vital role of the entrepreneur in profitmaking. Based on Knight's PhD dissertation, this 1921 work, balancing theory with fact to come to stunning insights, is a distinct pleasure to read. FRANK H. KNIGHT (1885-1972) is considered by some the greatest American scholar of economics of the 20th century. An economics professor at the University of Chicago from 1927 until 1955, he was one of the founders of the Chicago school of economics, which influenced Milton Friedman and George Stigler.

“A chaotic, furious, extraordinary Bengali confection...Irresistible.” -- Philip Hensher, Man Booker–shortlisted author of The Northern Clemency “A feminist, fractured fairy tale…this is a story that lingers.” – NPR "The book is a riot, a sprightly thriller that will make you not only want to discover more Bengali cultural norms of the vintage era but also create rational stirrings within you to go look up more of Shirshendu Mukhopadhyay’s works." -- World Literature Today A laugh-out-loud, tug-at-your-heartstrings tale of love, family, and freedom centered around three generations of Bengali women. Somlata has just married into the dynastic but declining Mitra family. At eighteen, she expects to settle into her role as a devout wife in this traditional, multi-generational family. But then Somlata, wandering the halls of the grand, decaying Mitra mansion, stumbles upon the body of her great aunt-in-law, Pishima. A child bride widowed at twelve, Pishima has finally passed away at the ripe old age of seventy. But she isn’t letting go just yet. Pishima has long harbored a grudge against the Mitras for keeping her in perpetual widowhood, never allowed to fall in love.. Now, her ghost intends to meddle in their lives, making as much mischief as possible. Pishima gives Somlata the keys to her mysterious box of gold to keep it out of the Mitras’ hands. However, the selfless Somlata, witnessing her new family waste away their wealth to the brink of bankruptcy, has her own ideas. Boshon is a book-loving, scooter-riding, rebellious teenager who wants nothing to do with the many suitors that ask for her hand. She yearns for freedom and wants to go to college. But when her poor neighbor returns from America she finds herself falling in love. Perhaps Pishima’s yearning spirit lives on in her own her heart? The Aunt Who Wouldn’t Die is a frenetic, funny, and fresh novel about three generations of Mitra women who are surprising at every turn and defy all expectations. They may be guarding a box of gold, but they are the true treasures in this gem of a novel. Translated from the Bangla by Arunava Sinha

Contributions by Tim Armstrong, Edward A. Chappell, W. Ralph Eubanks, Amy A. Foley, Michael Gorra, Sherita L. Johnson, Andrew B. Leiter, John T. Matthews, Julie Beth Napolin, Erin Penner, Stephanie Rountree, Julia Stern, Jay Watson, and Randall Wilhelm In 1930, the same year he moved into Rowan Oak, a slave-built former plantation home in his hometown of Oxford, Mississippi, William Faulkner published his first work of fiction that gave serious attention to the experience and perspective of an enslaved individual. For the next two decades, Faulkner repeatedly returned to the theme of slavery and to the figures of enslaved people in his fiction, probing the racial, economic, and political contours of his region, nation, and hemisphere in work such as The Sound and the Fury; Light in August; Absalom, Absalom!; and Go Down, Moses. Faulkner and Slavery is the first collection to address the myriad legacies of African chattel slavery in the writings and personal history of one of the twentieth century’s most incisive authors on US slavery and the long ordeal of race in the Americas. Contributors to the volume examine the constitutive links among slavery, capitalism, and modernity across Faulkner’s oeuvre. They study how the history of slavery at the University of Mississippi informs writings like Absalom, Absalom! and trace how slavery’s topologies of the rectilinear grid or square run up against the more reparative geography of the oval in Faulkner’s narratives. Contributors explore how the legacies of slavery literally sound and resound across centuries of history, and across multiple novels and stories in Faulkner’s fictional county of Yoknapatawpha, and they reveal how the author’s remodeling work on his own residence brought him into an uncomfortable engagement with the spatial and architectural legacies of chattel slavery in north Mississippi. Faulkner and Slavery offers a timely intervention not only in the critical study of the writer’s work but in ongoing national and global conversations about the afterlives of slavery and the necessary work of antiracism.