The rural post office was once a vibrant institution of sociability and communication in Canada. Country Post strives to recreate the postal world of 1880 – 1945 through extensive research and the recollections of twenty-eight postmasters from all regions of Canada.

Winner of the Overseas Press Club of America's Cornelius Ryan Award • Finalist for the Pulitzer Prize in Nonfiction A New York Times Book Review Notable Book • Named a Best Book of the Year by New York Magazine and The Progressive "A deeply honest and brave portrait of of an individual sensibility reckoning with her country's violent role in the world." —Hisham Matar, The New York Times Book Review In the wake of the September 11 attacks and the U.S.-led invasion of Iraq, Suzy Hansen, who grew up in an insular conservative town in New Jersey, was enjoying early success as a journalist for a high-profile New York newspaper. Increasingly, though, the disconnect between the chaos of world events and the response at home took on pressing urgency for her. Seeking to understand the Muslim world that had been reduced to scaremongering headlines, she moved to Istanbul. Hansen arrived in Istanbul with romantic ideas about a mythical city perched between East and West, and with a naïve sense of the Islamic world beyond. Over the course of her many years of living in Turkey and traveling in Greece, Egypt, Afghanistan, and Iran, she learned a great deal about these countries and their cultures and histories and politics. But the greatest, most unsettling surprise would be what she learned about her own country—and herself, an American abroad in the era of American decline. It would take leaving her home to discover what she came to think of as the two Americas: the country and its people, and the experience of American power around the world. She came to understand that anti-Americanism is not a violent pathology. It is, Hansen writes, “a broken heart . . . A one-hundred-year-old relationship.” Blending memoir, journalism, and history, and deeply attuned to the voices of those she met on her travels, Notes on a Foreign Country is a moving reflection on America’s place in the world. It is a powerful journey of self-discovery and revelation—a profound reckoning with what it means to be American in a moment of grave national and global turmoil.

A REESE’S BOOK CLUB PICK and INSTANT NEW YORK TIMES BESTSELLER WINNER OF THE 2021 NEW AMERICAN VOICES AWARD, LONGLISTED FOR THE 2022 ANDREW CARNEGIE MEDAL, A 2022 DAYTON LITERARY PEACE PRIZE FINALIST, AND A NATIONAL ENDOWMENT OF THE ARTS “BIG READS” SELECTION “A profound, beautiful novel.” —People * “Poignant.” —BuzzFeed * “A breathtaking story of the unimaginable prices paid for a better life.” —Esquire This “heartbreaking portrait of a family dealing with the realities of migration and separation” (Time) is “a sweeping love story and tragic drama [and] an authentic vision of what the American Dream looks like in a nationalistic country” (Elle). I often wonder if we are living the wrong life in the wrong country. Talia is being held at a correctional facility for adolescent girls in the forested mountains of Colombia after committing an impulsive act of violence that may or may not have been warranted. She urgently needs to get out and get back home to Bogotá, where her father and a plane ticket to the United States are waiting for her. If she misses her flight, she might also miss her chance to finally be reunited with her family. How this family came to occupy two different countries, two different worlds, comes into focus like twists of a kaleidoscope. We see Talia’s parents, Mauro and Elena, fall in love in a market stall as teenagers against a backdrop of civil war and social unrest. We see them leave Bogotá with their firstborn, Karina, in pursuit of safety and opportunity in the United States on a temporary visa, and we see the births of two more children, Nando and Talia, on American soil. We witness the decisions and indecisions that lead to Mauro’s deportation and the family’s splintering—the costs they’ve all been living with ever since. Award-winning, internationally acclaimed author Patricia Engel, herself a dual citizen and the daughter of Colombian immigrants, gives voice to all five family members as they navigate the particulars of their respective circumstances. Rich with Bogotá urban life, steeped in Andean myth, and tense with the daily reality of the undocumented in America, Infinite Country “is as much an all-American story as it is a global one” (Booklist, starred review).

When Namibia gained its independence from South Africa in 1990, the new government began dismantling the divisive apartheid state and building a unified nation-state. What does this new nation look like from the perspective of ordinary citizens? In Lyrical Nationalism in Post-Apartheid Namibia, Wendi Haugh provides an ethnographic portrayal of the nation as imagined by people living in the former ethnic homeland of Ovamboland, with a particular focus on the lyrics of songs composed and performed by Catholic youth. The author argues that these youth draw on conflicting ideologies—hierarchical and egalitarian, nationalist and cosmopolitan—from multiple sources to construct a multi-faceted sense of national identity. She reveals how their vision of the nation—framed as neutrally national—is deeply rooted in specific local histories and cultures.

No one understands etiquette better than "Town & Country." This all-new collection of essays explores the challenges of navigating a fast-changing society when the old rules are unenforceable and new ones have yet to be proposed. It includes 25 notable writers and celebrities.

The country bunny attains the exalted position of Easter Bunny in spite of her responsibilities as the mother of twenty-one children.

A daring, firsthand, and utterly-unscripted account of crisis in America, from Ferguson to Flint to Cliven Bundy's ranch to Donald Trump's unstoppable campaign for President--at every turn, Pulitzer-prize winner and bestselling author of Detroit: An American Autopsy, Charlie LeDuff was there In the Fall of 2013, long before any sane person had seriously considered the possibility of a Trump presidency, Charlie LeDuff sat in the office of then-Fox News CEO Roger Ailes, and made a simple but prophetic claim: The whole country is bankrupt and on high boil. It’s a shitshow out there. No one in the bubbles of Washington, DC., New York, or Los Angles was talking about it--least of all the media. LeDuff wanted to go to the heart of the country to report what was really going on. Ailes baulked. Could the hard-living and straight-shooting LeDuff be controlled? But, then, perhaps on a whim, he agreed. And so LeDuff set out to record a TV series called, "The Americans," and, along the way, ended up bearing witness to the ever-quickening unraveling of The American Dream. For three years, LeDuff travelled the width and breadth of the country with his team of production irregulars, ending up on the Mexican border crossing the Rio Grande on a yellow rubber kayak alongside undocumented immigrants; in the middle of Ferguson as the city burned; and watching the children of Flint get sick from undrinkable water. Racial, political, social, and economic tensions were escalating by the day. The inexorable effects of technological change and globalization were being felt more and more acutely, at the same time as wages stagnated and the price of housing, education, and healthcare went through the roof. The American people felt defeated and abandoned by their politicians, and those politicians seemed incapable of rising to the occasion. The old way of life was slipping away, replaced only by social media, part-time work, and opioid addiction. Sh*tshow! is that true, tragic, and distinctively American story, told from the parts of the country hurting the most. A soul-baring, irreverent, and iconoclastic writer, LeDuff speaks the language of everyday Americans, and is unafraid of getting his hands dirty. He scrambles the tired-old political, social, and racial categories, taking no sides--or prisoners. Old-school, gonzo-style reporting, this is both a necessary confrontation with the darkest parts of the American psyche and a desperately-needed reminder of the country's best instincts.