Putsata Reang’s new memoir delves into the realization that many of her greatest struggles are rooted in the past, under the weight of inherited trauma and filial duty. Even so, Reang unshackles herself from family history and forges an identity of her own.
Shelley Wong’s debut poetry collection reaches towards a place where people can live a life of depth and multiplicity beyond appearance, a “hypergreen periphery” of plenitude and possibility where “any tree can become a ladder.”
By combining the voices of the dead with the experiences of the living, Annie Hartnett builds a sense of community. Her characters are not navigating hardships in isolation but with the support of family and friends, animals and the dead.
The stories in Megan Mayhew Bergman’s third collection deal with the idea of inheritance—what parts of themselves women bequeath to their children, to one another, to men, and what’s left once those parts are given away.
The essays of Febos’s new essay collection read less like a coming-of-age story than they do like a manifesto of all the ways girlhood takes a toll on a girl’s life, as well as of the cultural experience of being a woman.
Ravi Shankar’s new memoir positions traumatic memory and its Hartmanian alignment with a paradoxical capacity for both knowledge and nescience at center-stage: the reader is warned that the tale to be told may in one sense be fictive as much as factual, but that it will, nonetheless, be told
The double-sided expectations are the heart of Jessamine Chan’s debut novel. Motherhood is deeply personal and yet easily judged by Instagram followers and the state alike. Chan’s book asks: Can motherhood be measured by the performance of it?
Emma Hine’s debut collection of poetry, out earlier this year, is a book focused on three sisters that behaves like a constellation surrounded by an ever-blackening sky.
The eleven essays that make up Miller and Wade’s new collection emerged through an email correspondence the two writers exchanged over the course of four years—an associative, improvisational game of call-and-response that played out in their inboxes.
Jasmin Darznik’s second novel, which imagines the early adulthood of the famous photographer Dorothea Lange, tracks the revelation of Lange’s artistic ethos: photography, she comes to accept, is as much about the seer as it is about the seen.