Granta 156: Interiors includes poetry by Kaveh Akbar, Sasha Debevec-McKenney and Gboyega Odubanjo, as well as memoir by Chris Dennis, Debra Gwartney, Ruchir Joshi and Sandra Newman. This summer issue features fiction by Jesse Ball, Claire-Louise Bennett, Eva Freeman, Sara Freeman, Tao Lin, Okwiri Oduor, Adam O'Fallon Price, Vanessa Onwuemezi, Kathryn Scanlan and Diane Williams. With photography by Robbie Lawrence introduced by Colin Herd, and Kaitlin Maxwell introduced by Lynne Tillman.

Published four times a year, Granta is respected around the world for its mix of outstanding contemporary writing, art and photography. This summer issue of Granta features fiction by Jesse Ball, Eva Freeman, Okwiri Oduor, Tao Lin, Adam O'Fallon Price, Vanessa Onwuemezi, Kathryn Scanlan and Diane Williams. Granta 156: Interiors includes poetry by Kaveh Akbar, Sasha Debvec-McKenny, Gboyega Odubanjo and Nick Laird, as well as memoir by Chris Dennis, Debra Gwartney, Sandra Newman and Ruchir Joshi. With photography by Robbie Lawrence, introduced by Colin Herd, and Kaitlin Maxwell, introduced by Lynne Tillman.

Smart and socially gifted, Adam and Cynthia Morey are perfect for each other. With Adam’s rising career in the world of private equity, a beautiful home in Manhattan, gorgeous children, and plenty of money, they are, by any reasonable standard, successful. But for the Moreys, their future of boundless privilege is not arriving fast enough. As Cynthia begins to drift, Adam is confronted with a choice that will test how much he is willing to risk to ensure his family’s happiness and to recapture the sense that the only acceptable life is one of infinite possibility. The Privileges is an odyssey of a couple touched by fortune, changed by time, and guided above all else by their epic love for each other. BONUS: This edition contains a The Privileges discussion guide.

NEW YORK TIMES BESTSELLER • NATIONAL BOOK CRITICS CIRCLE AWARD FINALIST NAMED ONE OF THE TEN BEST BOOKS OF THE YEAR BY MICHIKO KAKUTANI, THE NEW YORK TIMES • NAMED ONE OF THE TEN BEST NONFICTION BOOKS OF THE YEAR BY TIME NAMED ONE OF THE BEST BOOKS OF THE YEAR BY MORE THAN 45 PUBLICATIONS, INCLUDING The New York Times Book Review • The Washington Post • NPR • The New Yorker • San Francisco Chronicle • The Economist • The Atlantic • Newsday • Salon • St. Louis Post-Dispatch • The Guardian • Esquire (UK) • GQ (UK) After three acclaimed novels, Gary Shteyngart turns to memoir in a candid, witty, deeply poignant account of his life so far. Shteyngart shares his American immigrant experience, moving back and forth through time and memory with self-deprecating humor, moving insights, and literary bravado. The result is a resonant story of family and belonging that feels epic and intimate and distinctly his own. Born Igor Shteyngart in Leningrad during the twilight of the Soviet Union, the curious, diminutive, asthmatic boy grew up with a persistent sense of yearning—for food, for acceptance, for words—desires that would follow him into adulthood. At five, Igor wrote his first novel, Lenin and His Magical Goose, and his grandmother paid him a slice of cheese for every page. In the late 1970s, world events changed Igor’s life. Jimmy Carter and Leonid Brezhnev made a deal: exchange grain for the safe passage of Soviet Jews to America—a country Igor viewed as the enemy. Along the way, Igor became Gary so that he would suffer one or two fewer beatings from other kids. Coming to the United States from the Soviet Union was equivalent to stumbling off a monochromatic cliff and landing in a pool of pure Technicolor. Shteyngart’s loving but mismatched parents dreamed that he would become a lawyer or at least a “conscientious toiler” on Wall Street, something their distracted son was simply not cut out to do. Fusing English and Russian, his mother created the term Failurchka—Little Failure—which she applied to her son. With love. Mostly. As a result, Shteyngart operated on a theory that he would fail at everything he tried. At being a writer, at being a boyfriend, and, most important, at being a worthwhile human being. Swinging between a Soviet home life and American aspirations, Shteyngart found himself living in two contradictory worlds, all the while wishing that he could find a real home in one. And somebody to love him. And somebody to lend him sixty-nine cents for a McDonald’s hamburger. Provocative, hilarious, and inventive, Little Failure reveals a deeper vein of emotion in Gary Shteyngart’s prose. It is a memoir of an immigrant family coming to America, as told by a lifelong misfit who forged from his imagination an essential literary voice and, against all odds, a place in the world. Praise for Little Failure “Hilarious and moving . . . The army of readers who love Gary Shteyngart is about to get bigger.”—The New York Times Book Review “A memoir for the ages . . . brilliant and unflinching.”—Mary Karr “Dazzling . . . a rich, nuanced memoir . . . It’s an immigrant story, a coming-of-age story, a becoming-a-writer story, and a becoming-a-mensch story, and in all these ways it is, unambivalently, a success.”—Meg Wolitzer, NPR “Literary gold . . . bruisingly funny.”—Vogue “A giant success.”—Entertainment Weekly

A debut short story collection that explores the vulnerability, grit, and complex nature of our humanity from a new, vital queer voice. A yacht races to outrun a tsunami. A young man jailed on a drug charge forms a relationship with his cellmate that is by turns tender and brutal. A family buys a rural slaughterhouse, and tensions with their religious neighbors quickly escalate. A teen raised by his eccentric gay father, a Turkish immigrant, finds his life fractured by violence. A fictionalized Coretta Scott King, surveilled and harassed by the FBI, considers the costs of her life with her husband. Here Is What You Do is a bravura, far-ranging collection, its stories linked by sorrow and latent hope, each one drilling toward its characters’ darkest emotional centers. In muscularly robust prose, with an unfailing eye for human drives and frailties, Chris Dennis captures the raw need, desire, cruelty, and promise that animate our lives.

A TIME Magazine Best Book of 2022 “I loved it.” —Miranda Cowley Heller, author of The Paper Palace "Brilliant, elegant, and unsparing." —Emma Cline "Irresistible... I read it in an afternoon but I'll be thinking about it for a long time." —Douglas Stuart, author of Young Mungo From an astounding new voice in Canadian literature comes an intoxicating, compact novel about a woman who walks out of her life and washes up in a seaside town After a sudden, devastating loss, Mara flees her family and ends up adrift in a wealthy seaside town with a dead cellphone and barely any money. Mired in her grief, Mara detaches from the outside world and spends her days of self-imposed exile scrounging for food and swimming in the night ocean. In her state of emotional extremis, the sea at the town's edge is rendered bleak, luminous, implacable. As her money runs out and tourist season comes to a close, Mara finds a job at the local wine store. There, she meets Simon, the shop's soft-spoken, lonely owner. Confronted with the possibility of connection with Simon and the slow return of her desires and appetites, the reasons for her flight begin to emerge. Reminiscent of works by Rachel Cusk, Jenny Offill, and Sheila Heti, Tides is a spare, visceral debut novel about the nature of selfhood, intimacy, and the private narratives that shape our lives. A shattering and unforgettable debut.

From Antarctica and the deserts of the US-Mexico border, to a Siberian whale-killing station and the alleyways of Taipei, these dispatches describe a world in perpetual motion (even when it is 'locked-down'). To travel, we are reminded, is to embrace the experience of being a stranger - to acknowledge that one person''s frontier is another's home. Granta 157 is guest-edited by award-winning travel writer William Atkins. It features: Jason Allen-Paisant remembers the trees of his childhood Jamaica from his home in Leeds Carlos Manuel lvarez navigates Cuba's customs system, translated by Frank Wynne Eliane Brum travels from her home in the Brazilian Amazon to Antarctica in the era of climate crisis, translated by Diane Grosklaus Whitty Francisco Cant and Javier Zamora: a former border guard travels to the US-Mexico border with a former undocumented migrant who crossed the border as a child Jennifer Croft's richly illustrated essay on postcards and graffiti, inspired by Los Angeles Bathsheba Demuth visits a whale-hunting station on the Bering Strait, Russia Sinad Gleeson visits Brazil with Clarice Lispector Kate Harris with the Tlingit people of the Taku River basin, on the border of British Columbia and Alaska Artist Roni Horn on Iceland Emmanuel Iduma returns to Lagos in his late father's footsteps, Nigeria Kapka Kassabova among the gatherers of the ancient Mesta River, Bulgaria Taran Khan with Afghan migrants in Germany and Kabul Jessica J. Lee in the alleyways of Taipei, Taiwan, in search of her mother's home Ben Mauk among the volcanoes of Duterte's Philippines Pascale Petit tracks tigers in Paris and India Photographer James Tylor on the legacy of whaling in Indigenous South Australia, introduced by Dominic Guerrera

How to use design as a tool to create not only things but ideas, to speculate about possible futures. Today designers often focus on making technology easy to use, sexy, and consumable. In Speculative Everything, Anthony Dunne and Fiona Raby propose a kind of design that is used as a tool to create not only things but ideas. For them, design is a means of speculating about how things could be—to imagine possible futures. This is not the usual sort of predicting or forecasting, spotting trends and extrapolating; these kinds of predictions have been proven wrong, again and again. Instead, Dunne and Raby pose “what if” questions that are intended to open debate and discussion about the kind of future people want (and do not want). Speculative Everything offers a tour through an emerging cultural landscape of design ideas, ideals, and approaches. Dunne and Raby cite examples from their own design and teaching and from other projects from fine art, design, architecture, cinema, and photography. They also draw on futurology, political theory, the philosophy of technology, and literary fiction. They show us, for example, ideas for a solar kitchen restaurant; a flypaper robotic clock; a menstruation machine; a cloud-seeding truck; a phantom-limb sensation recorder; and devices for food foraging that use the tools of synthetic biology. Dunne and Raby contend that if we speculate more—about everything—reality will become more malleable. The ideas freed by speculative design increase the odds of achieving desirable futures.

Granta 155: Best of Young Spanish-Language Novelists 2 showcases the work of twenty-five of the most exciting young writers in the Spanish speaking world, chosen by judges Chloe Aridjis, Horacio Castellanos Moya, Rodrigo Fresn, Aurelio Major, Gaby Wood and guest editor Valerie Miles. Granta 155 is published simultaneously with Granta en Espaol 23: Los Mejores Narradores Jvenes en Espaol 2, in Spain and in the US. Andrea Abreu (Spain) trans. Julia Sanches Jos Adiak Montoya (Nicaragua) trans. Samantha Schnee David Aliaga (Spain) trans. Daniel Hahn Carlos Manuel lvarez (Cuba) trans. Frank Wynne Jos Ardila (Colombia) trans. Lindsay Griffiths and Adrin Izquierdo Gonzalo Baz (Uruguay) trans. Christina MacSweeney Miluska Benavides (Peru) trans. Katherine Silver Martn Felipe Castagnet (Argentina) trans. Frances Riddle Andrea Chapela (Mexico) trans. Kelsi Vanada Camila Fabbri (Argentina) trans. Jennifer Croft Paulina Flores (Mexico) trans. Megan McDowell Carlos Fonseca (Costa Rica/Puerto Rico) trans. Megan McDowell Mateo Garca Elizondo (Mexico) trans. Robin Myers Aura Garca-Junco (Mexico) trans. Lizzie Davis Munir Hachemi (Spain) trans. Nick Caistor Dainerys Machado Vento (Cuba) trans. Will Vanderhyden Estanislao Medina Huesca (Equatorial Guinea) trans. Mara Faye Lethem Cristina Morales (Spain) trans. Kevin Gerry Dunn Alejandro Morelln (Spain) trans. Esther Allen Michel Nieva (Argentina) trans. Natasha Wimmer Mnica Ojeda (Ecuador) trans. Sarah Booker Eudris Planche Savn (Cuba) trans. Margaret Jull Costa Irene Reyes-Noguerol (Spain) trans. Lucy Greaves Aniela Rodrguez (Mexico) trans. Sophie Hughes Diego Ziga (Chile) trans. Megan McDowell

During the Cold War, freedom of expression was vaunted as liberal democracy’s most cherished possession—but such freedom was put in service of a hidden agenda. In The Cultural Cold War, Frances Stonor Saunders reveals the extraordinary efforts of a secret campaign in which some of the most vocal exponents of intellectual freedom in the West were working for or subsidized by the CIA—whether they knew it or not. Called "the most comprehensive account yet of the [CIA’s] activities between 1947 and 1967" by the New York Times, the book presents shocking evidence of the CIA’s undercover program of cultural interventions in Western Europe and at home, drawing together declassified documents and exclusive interviews to expose the CIA’s astonishing campaign to deploy the likes of Hannah Arendt, Isaiah Berlin, Leonard Bernstein, Robert Lowell, George Orwell, and Jackson Pollock as weapons in the Cold War. Translated into ten languages, this classic work—now with a new preface by the author—is "a real contribution to popular understanding of the postwar period" (The Wall Street Journal), and its story of covert cultural efforts to win hearts and minds continues to be relevant today.