In 1711, the imperious Virginia patriarch William Byrd II spitefully refused his wife Lucy's plea for a book; a century later, Lady Jean Skipwith placed an order that sent the Virginia bookseller Joseph Swan scurrying to please. These vignettes bracket a century of change in white southern women's lives. Claiming the Pen offers the first intellectual history of early southern women. It situates their reading and writing within the literary culture of the wider Anglo-Atlantic world, thus far understood to be a masculine province, even as they inhabited the limited, provincial social circles of the plantation South.Catherine Kerrison uncovers a new realm of female education in which conduct-of-life advice—both the dry pedantry of sermons and the risqué plots of novels—formed the core reading program. Women, she finds, learned to think and write by reading prescriptive literature, not Greek and Latin classics, in impromptu home classrooms, rather than colleges and universities, and from kin and friends, rather than schoolmates and professors. Kerrison also reveals that southern women, in their willingness to "take up the pen" and so claim new rights, seized upon their racial superiority to offset their gender inferiority. In depriving slaves of education, southern women claimed literacy as a privilege of their whiteness, and perpetuated and strengthened the repressive institutions of slavery.

The first intellectual history of early southern women, situating their reading and writing within the literary culture of the wider Anglo-Atlantic world.

"A must read."—Margaret Atwood A vital, necessary playbook for navigating and defending free speech today by the CEO of PEN America, Dare To Speak provides a pathway for promoting free expression while also cultivating a more inclusive public culture. Online trolls and fascist chat groups. Controversies over campus lectures. Cancel culture versus censorship. The daily hazards and debates surrounding free speech dominate headlines and fuel social media storms. In an era where one tweet can launch—or end—your career, and where free speech is often invoked as a principle but rarely understood, learning to maneuver the fast-changing, treacherous landscape of public discourse has never been more urgent. In Dare To Speak, Suzanne Nossel, a leading voice in support of free expression, delivers a vital, necessary guide to maintaining democratic debate that is open, free-wheeling but at the same time respectful of the rich diversity of backgrounds and opinions in a changing country. Centered on practical principles, Nossel’s primer equips readers with the tools needed to speak one’s mind in today’s diverse, digitized, and highly-divided society without resorting to curbs on free expression. At a time when free speech is often pitted against other progressive axioms—namely diversity and equality—Dare To Speak presents a clear-eyed argument that the drive to create a more inclusive society need not, and must not, compromise robust protections for free speech. Nossel provides concrete guidance on how to reconcile these two sets of core values within universities, on social media, and in daily life. She advises readers how to: Use language conscientiously without self-censoring ideas; Defend the right to express unpopular views; And protest without silencing speech. Nossel warns against the increasingly fashionable embrace of expanded government and corporate controls over speech, warning that such strictures can reinforce the marginalization of lesser-heard voices. She argues that creating an open market of ideas demands aggressive steps to remedy exclusion and ensure equal participation. Replete with insightful arguments, colorful examples, and salient advice, Dare To Speak brings much-needed clarity and guidance to this pressing—and often misunderstood—debate.

WINNER OF THE 2021 PULITZER PRIZE IN POETRY FINALIST FOR THE 2020 NATIONAL BOOK AWARD FOR POETRY Natalie Diaz’s highly anticipated follow-up to When My Brother Was an Aztec, winner of an American Book Award Postcolonial Love Poem is an anthem of desire against erasure. Natalie Diaz’s brilliant second collection demands that every body carried in its pages—bodies of language, land, rivers, suffering brothers, enemies, and lovers—be touched and held as beloveds. Through these poems, the wounds inflicted by America onto an indigenous people are allowed to bloom pleasure and tenderness: “Let me call my anxiety, desire, then. / Let me call it, a garden.” In this new lyrical landscape, the bodies of indigenous, Latinx, black, and brown women are simultaneously the body politic and the body ecstatic. In claiming this autonomy of desire, language is pushed to its dark edges, the astonishing dunefields and forests where pleasure and love are both grief and joy, violence and sensuality. Diaz defies the conditions from which she writes, a nation whose creation predicated the diminishment and ultimate erasure of bodies like hers and the people she loves: “I am doing my best to not become a museum / of myself. I am doing my best to breathe in and out. // I am begging: Let me be lonely but not invisible.” Postcolonial Love Poem unravels notions of American goodness and creates something more powerful than hope—in it, a future is built, future being a matrix of the choices we make now, and in these poems, Diaz chooses love.

A "profound and provocative" new work by the Pulitzer Prize-winning author of Disgraced and American Dervish: an immigrant father and his son search for belonging—in post-Trump America, and with each other (Kirkus Reviews). One of the New York Times 10 Best Books of the Year One of Barack Obama's Favorite Books of 2020 Finalist for the 2021 Andrew Carnegie Medal for Excellence in Fiction A Best Book of 2020 * Washington Post * O Magazine * New York Times Book Review * Publishers Weekly "Passionate, disturbing, unputdownable." —Salman Rushdie A deeply personal work about identity and belonging in a nation coming apart at the seams, Homeland Elegies blends fact and fiction to tell an epic story of longing and dispossession in the world that 9/11 made. Part family drama, part social essay, part picaresque novel, at its heart it is the story of a father, a son, and the country they both call home. Ayad Akhtar forges a new narrative voice to capture a country in which debt has ruined countless lives and the gods of finance rule, where immigrants live in fear, and where the nation's unhealed wounds wreak havoc around the world. Akhtar attempts to make sense of it all through the lens of a story about one family, from a heartland town in America to palatial suites in Central Europe to guerrilla lookouts in the mountains of Afghanistan, and spares no one—least of all himself—in the process.

Good penning and inking comes with knowledge and practice, and this book enlists famous pros to share their wisdom. Includes step-by-step instructions by these industry giants to help budding artists master their craft.

The first book in an epic new series about a princess hiding a dark secret and the con man she must trust to clear her name for her father's murder. In the Cyrilian Empire, Affinites are reviled. Their varied gifts to control the world around them are deemed unnatural—even dangerous. And Anastacya Mikhailov, the crown princess, is one of the most terrifying Affinites. Ana’s ability to control blood has long been kept secret, but when her father, the emperor, is murdered, she is the only suspect. Now, to save her own life, Ana must find her father’s killer. But the Cyrilia beyond the palace walls is one where corruption rules and a greater conspiracy is at work—one that threatens the very balance of Ana’s world. There is only one person corrupt enough to help Ana get to the conspiracy’s core: Ramson Quicktongue. Ramson is a cunning crime lord with sinister plans—though he might have met his match in Ana. Because in this story, the princess might be the most dangerous player of all. Praise for Blood Heir “Cinematic storytelling at its best.”—Adrienne Young, New York Times bestselling author of Sky in the Deep and The Girl the Sea Gave Back “Zhao shines in the fast-paced and vivid combat scenes, which lend a cinematic quality that pulls readers in.”—NYT Book Review “Zhao is a master writer who weaves a powerful tale of loyalty, honor, and courage through a strong female protagonist. . . . Readers will love the fast-paced energy and plot twists in this adventure-packed story.”—SLJ

AN INDIE BESTSELLER Most Anticipated by ELLE • Bustle • Bloomberg • Kirkus • HipLatina • SheReads • BookPage • The Millions • The Mujerista • Ms. Magazine • and more “Unflinching” —Ms. Magazine • “Phenomenal” —BookRiot • "An essential read" —Kirkus, starred review • "Necessary" —Library Journal • "Powerful" —Joaquin Castro • "Illuminating" —Reyna Grande • "A love letter to our people" —José Olivarez • "I have been waiting for this book all my life" —Paul Ortiz Bestselling author Julissa Arce calls for a celebration of our uniqueness, our origins, our heritage, and the beauty of the differences that make us Americans in this powerful polemic against the myth that assimilation leads to happiness and belonging for immigrants. “You sound like a white girl.” These were the words spoken to Julissa by a high school crush as she struggled to find her place in America. As a brown immigrant from Mexico, assimilation had been demanded of her since the moment she set foot in San Antonio, Texas, in 1994. She’d spent so much time getting rid of her accent so no one could tell English was her second language that in that moment she felt those words—you sound like a white girl?—were a compliment. As a child, she didn’t yet understand that assimilating to “American” culture really meant imitating “white” America—that sounding like a white girl was a racist idea meant to tame her, change her, and make her small. She ran the race, completing each stage, but never quite fit in, until she stopped running altogether. In this dual polemic and manifesto, Julissa dives into and tears apart the lie that assimilation leads to belonging. She combs through history and her own story to break down this myth, arguing that assimilation is a moving finish line designed to keep Black and brown Americans and immigrants chasing racist American ideals. She talks about the Lie of Success, the Lie of Legality, the Lie of Whiteness, and the Lie of English—each promising that if you obtain these things, you will reach acceptance and won’t be an outsider anymore. Julissa deftly argues that these demands leave her and those like her in a purgatory—neither able to secure the power and belonging within whiteness nor find it in the community and cultures whiteness demands immigrants and people of color leave behind. In You Sound Like a White Girl, Julissa offers a bold new promise: Belonging only comes through celebrating yourself, your history, your culture, and everything that makes you uniquely you. Only in turning away from the white gaze can we truly make America beautiful. An America where difference is celebrated, heritage is shared and embraced, and belonging is for everyone. Through unearthing veiled history and reclaiming her own identity, Julissa shows us how to do this.

Invention Analysis and Claiming presents a comprehensive approach to analyzing inventions and capturing them in a sophisticated set of patent claims. A central theme is the importance of using the problem-solution paradigm to identify the "inventive concept" before the claim-drafting begins. The book's teachings are grounded in "old school" principles of patent practice that, before now, have been learned only on the job from supervisors and mentors.

When a Sekali princess arrives in the Ardannian capital after being kidnapped, Ardann sends a team into the mountains to investigate. With their usual defenses and compositions inexplicably failing, Saffron and Julian must rely on each other to defend their kingdom and escape with both their hearts and lives intact.