Same Bed Different Dreams is a wild, sweeping novel that imagines an alternate secret history of Korea and the traces it leaves on the present. Loaded with assassins, mad poets, RPGs, slasher films, pop bands, and the perils of social media, this book challenges your view of twentieth-century history and offers a vision akin to A Gravity's Rainbow for another war, an unfinished war.

In 1919, Korean patriots establish the Korean Provisional Government (KPG) to protest the Japanese occupation. This government-in-exile proves mostly symbolic, but what if the KPG still existed today, clandestinely working toward a unified Korea? The novel weaves together three distinct narrative voices with an archive of mysterious images, twisting reality and blending Korean history with American pop culture.

The protagonist, Soon Sheen, a former writer now working for the tech giant GLOAT, stumbles upon an unfinished manuscript seemingly penned by the KPG. This revisionist history connects both well-known figures and lesser-known individuals to the KPG's grand project, from Syngman Rhee and architect-poet Yi Sang to Jack London and Marilyn Monroe. Even the television series M*A*S*H, the Moonies, and a history of violence from the assassination of President McKinley to the downing of a passenger plane that almost sparked a war are woven into the narrative.

Authored by Ed Park, acclaimed for Personal Days, Same Bed Different Dreams is a raucously funny achievement of imagination. A thrilling blend of history and fiction, it pulls readers into another dimension—one in which utopia is not just a dream, but a possibility.

Rome—metropolis and monument, suspended between past and future, multi-faceted and metaphysical—is the protagonist, not the setting, of these nine stories. This collection marks the first short story compilation by the Pulitzer Prize–winning master since the number one New York Times bestseller Unaccustomed Earth, and is heralded as a major literary event.

In “The Boundary,” a family vacations in the Roman countryside, yet we glimpse their lives through the perspective of the caretaker’s daughter, who harbors a scar from her family’s immigrant history. “P’s Parties” recounts how a Roman couple, now without children at home, discover solace and fellowship with internationals at their friend’s annual birthday celebration—until the husband oversteps a boundary. “The Steps” introduces us to a public staircase bridging two communities and the individuals traversing it, showcasing Italy’s capital in its full social and cultural spectrum, brimming with the dynamics of an evolving city: visibility and invisibility, spontaneous acts of aggression, the dilemma of navigating different worlds and cultures, and the essence of home.

These are magnificent, inquisitive tales, penned in Jhumpa Lahiri’s chosen language of Italian and impeccably translated by the author alongside Knopf editor Todd Portnowitz. The stories are imbued with the atmospheres of Italian virtuoso Alberto Moravia and in the final narrative, are led by the unavoidable spirit of Dante Alighieri, whose verses steer the protagonist towards an altered path of life.

An Indigenous Peoples’ History of the United States offers an unflinching examination of the history of the United States from the perspective of Indigenous peoples. This profound work radically reframes over 400 years of history, centering the voices of Native Americans and their resistance to settler-colonialism and genocide.

This 10th anniversary edition includes a new foreword by Raoul Peck and a new introduction by Roxanne Dunbar-Ortiz. The book delves into the brutal realities of the nation’s founding and its ongoing legacy, exploring events from the war in Afghanistan to the Charlottesville rallies, and from the onset of the pandemic to the election of President Biden.

Roxanne Dunbar-Ortiz traces the perseverance of Indigenous peoples over four centuries, challenging myths such as America's founding as a revolution against tyranny, the passivity of Native peoples, and the narrative of the US as a "nation of immigrants."

Today, more than 500 federally recognized Indigenous nations exist in the United States, comprising nearly three million people. This classic bottom-up history aims to break the silences that have haunted the nation's narrative and brings to light the stories of those who have been marginalized.

From James McBride, author of the bestselling Oprah’s Book Club pick Deacon King Kong and the National Book Award–winning The Good Lord Bird, comes a novel about small-town secrets and the people who keep them.

In 1972, workers in Pottstown, Pennsylvania, were digging the foundations for a new development when they unexpectedly discovered a skeleton at the bottom of a well. The skeleton's identity and how it ended up there were long-held secrets kept by the residents of Chicken Hill—a dilapidated neighborhood where immigrant Jews and African Americans lived side by side, sharing ambitions and sorrows.

Chicken Hill was home to Moshe and Chona Ludlow, where Moshe integrated his theater and Chona ran the Heaven & Earth Grocery Store. When the state sought to institutionalize a deaf boy, it was Chona and Nate Timblin, the Black janitor at Moshe’s theater and the unofficial leader of the Black community on Chicken Hill, who conspired to keep the boy safe.

As the characters' stories intertwine and deepen, it becomes clear how much those living on the margins of white, Christian America struggle and what they must do to survive. The revelation of what truly happened on Chicken Hill and the role played by the town’s white establishment, McBride reveals that even in the darkest times, it is love and community—heaven and earth—that sustain us.

James McBride brings his masterful storytelling skills and deep faith in humanity to The Heaven & Earth Grocery Store, crafting a novel as compassionate as Deacon King Kong and as inventive as The Good Lord Bird.

Ultra-Processed People: Why We Can't Stop Eating Food That Isn't Food is an eye-opening investigation into the science, economics, history, and production of ultra-processed food, also known as UPF. Medical doctor and broadcaster Chris van Tulleken takes us through the hard facts about our food intake and its links to various diseases such as metabolic disease, depression, inflammation, anxiety, and cancer. He also discusses the environmental damage caused by the production, distribution, and disposal of UPF.

Van Tulleken reframes the conversation around healthy eating by providing both shocking and empathetic insights into our eating habits. He delves into the concept of the 'third age of eating' characterized by the abundance of ultra-processed eating options and provides guidance on making informed choices amidst this landscape. This book is not just about diet trends or individual willpower; it's about our right to know what we eat and its effects on our bodies and our environment.

A historian explores the complicated relationship between womanhood and motherhood in this timely, refreshingly open-hearted study of the choices women make and the cards they’re dealt.

In an era of falling births, it’s often said that millennials invented the idea of not having kids. But history is full of women without children: some who chose childless lives, others who wanted children but never had them, and still others—the vast majority, then and now—who fell somewhere in between. Modern women considering how and if children fit into their lives are products of their political, ecological, and cultural moment. But history also tells them that they are not alone.

Drawing on deep research and her own experience as a woman without children, historian Peggy O’Donnell Heffington shows that many of the reasons women are not having children today are ones they share with women in the past: a lack of support, their jobs or finances, environmental concerns, infertility, and the desire to live different kinds of lives. Understanding this history—how normal it has always been to not have children, and how hard society has worked to make it seem abnormal—is key, she writes, to rebuilding kinship between mothers and non-mothers, and to building a better world for us all.

A bold, evocative new novel from the award-winning author Isabella Hammad that follows actress Sonia as she returns to Palestine and takes a role in a West Bank production of Hamlet.

After years away from her family's homeland, and reeling from a disastrous love affair, actress Sonia Nasir returns to Haifa to visit her older sister Haneen. This is her first trip back since the second intifada and the deaths of their grandparents: while Haneen made a life here commuting to Tel Aviv to teach at the university, Sonia stayed in London to focus on her acting career and now dissolute marriage. On her return, she finds her relationship to Palestine is fragile, both bone-deep and new.

At Haneen's, Sonia meets the charismatic and candid Mariam, a local director, and finds herself roped into a production of Hamlet in the West Bank. Sonia is soon rehearsing Gertrude's lines in classical Arabic and spending more time in Ramallah than in Haifa, along with a dedicated group of men from all over historic Palestine who, in spite of competing egos and priorities, each want to bring Shakespeare to that side of the wall. As opening night draws closer, it becomes clear just how many violent obstacles stand before a troupe of Palestinian actors. Amidst it all, the life Sonia once knew starts to give way to the daunting, exhilarating possibility of finding a new self in her ancestral home.

A stunning rendering of present-day Palestine, Enter Ghost is a story of diaspora, displacement, and the connection to be found in family and shared resistance. Timely, thoughtful, and passionate, Isabella Hammad's highly anticipated second novel is an exquisite feat, an unforgettable story of artistry under occupation.

What is “woman” if not “mother”?
Anything she wants to be.

Foregoing motherhood has traditionally marked a woman as “other.” With no official place setting for her in our society, she has hovered on the sidelines: the quirky girl, the neurotic career obsessive, the “eccentric” aunt. Instead of continuing to paint women without kids as sad, self-obsessed, or somehow dysfunctional, what if we saw them as boldly forging a first-in-a-civilization vision for a fully autonomous womankind? Or as journalist and thought leader Ruby Warrington asks, What if being a woman without kids were in fact its own kind of legacy?

Taking in themes from intergenerational healing to feminism to environmentalism, this personal look and anthropological dig into a stubbornly taboo topic is a timely and brave reframing of what it means not to be a mom. Our experiences and discourse around non-motherhood are central to women’s ongoing fight for gender equality. And whether we are childless by design or circumstance, we can live without regret, shame, or compromise.

Bold and tenderhearted, Women Without Kids seeks first and foremost to help valorize a path that is the natural consequence of women having more say about the choices we make and how our lives play out. Within this, it unites the unsung sisterhood of non-mothers―no longer pariahs or misfits, but as a vital part of our evolution and collective healing as women, as humans, and as a global family.

Imagine a world where your brain can be interrogated to learn your political beliefs, thought crimes are punishable by law, and your own feelings can be used against you. Where perfumers create customized fragrances to perfectly suit your emotions, and social media titans bypass your conscious mind to hook you to their products. A world where people who suffer from epilepsy receive alerts moments before a seizure, and the average person can peer into their own mind to eliminate painful memories or cure addictions.

Neuroscience has already made all of the above possible today, and neurotechnology will soon become the universal controller for all of our interactions with technology. This can benefit humanity immensely, but without safeguards, it can severely threaten our fundamental human rights to privacy, freedom of thought, and self-determination. Companies, governments, and militaries are all in: from contemplative neuroscience to consumer-based EEG technology, there have never been more ways to hack and track our brains.

The Battle for Your Brain by Nita A. Farahany dives deeply into the promises and perils of the coming dawn of brain access and alteration. Written by one of the world's foremost experts on neuroscience as it intersects with law and ethics, this highly original book offers a pathway forward to navigate the complex ethical dilemmas that neurotechnology presents, which will fundamentally impact our freedom to understand, shape, and define ourselves.

In her first book, How to Do Nothing, Jenny Odell wrote about the importance of disconnecting from the "attention economy" to spend time in quiet contemplation. But what if you don't have time to spend? In order to answer this seemingly simple question, Odell took a deep dive into the fundamental structure of our society and found that the clock we live by was built for profit, not people. This is why our lives, even in leisure, have come to seem like a series of moments to be bought, sold, and processed ever more efficiently.

Odell shows us how our painful relationship to time is inextricably connected not only to persisting social inequities but to the climate crisis, existential dread, and a lethal fatalism. This dazzling, subversive, and deeply hopeful book offers us different ways to experience time—inspired by pre-industrial cultures, ecological cues, and geological timescales—that can bring within reach a more humane, responsive way of living. As planet-bound animals, we live inside shortening and lengthening days alongside gardens growing, birds migrating, and cliffs eroding; the stretchy quality of waiting and desire; the way the present may suddenly feel marbled with childhood memory; the slow but sure procession of a pregnancy; the time it takes to heal from injuries.

Odell urges us to become stewards of these different rhythms of life in which time is not reducible to standardized units and instead forms the very medium of possibility. Saving Time tugs at the seams of reality as we know it—the way we experience time itself—and rearranges it, imagining a world not centered on work, the office clock, or the profit motive. If we can "save" time by imagining a life, identity, and source of meaning outside these things, time might also save us.

Enseñar a Hablar a un Monstruo es una indagación literaria sobre el gran misterio que nos hace humanos: el lenguaje. Es el primer libro de no ficción del novelista, traductor y profesor de linguística José C. Vales. Este ensayo narrativo y literario nos propone un viaje al origen del lenguaje, la evolución de las lenguas y el milagro de la escritura.

Armado con múltiples preguntas y reflexiones, el autor plantea las diferentes teorías que explican por qué estamos dotados de lenguaje, cómo evoluciona y de qué manera empieza a transcribirse. El texto es una lectura deliciosa, amena, interesante y sugerente respecto a un tema universal, explicado con afán didáctico y libre de tecnicismos.

Con el estilo que caracteriza a José C. Vales, repleto de lucidez, sabiduría y siempre con su toque irónico pero amable, descubriremos el fascinante mundo de la comunicación humana.

In an unnamed South American country, a world-renowned soprano sings at a birthday party in honor of a visiting Japanese industrial titan. Alas, in the opening sequence, a ragtag band of 18 terrorists enters the vice-presidential mansion through the air conditioning ducts. Their quarry is the president, who has unfortunately stayed home to watch a favorite soap opera. And thus, from the beginning, things go awry.

Among the hostages are Russian, Italian, and French diplomatic types. Swiss Red Cross negotiator Joachim Messner comes and goes, wrangling over terms and demands. Days stretch into weeks, the weeks into months. Joined by no common language except music, the 58 international hostages and their captors forge unexpected bonds. Time stands still, priorities rearrange themselves. Ultimately, of course, something has to give.

Hearing opera sung live for the first time, a young priest reflects: 'Never had he thought, never once, that such a woman existed, one who stood so close to God that God's own voice poured from her. How far she must have gone inside herself to call up that voice. It was as if the voice came from the center part of the earth and by the sheer effort and diligence of her will she had pulled it up through the dirt and rock and through the floorboards of the house, up into her feet, where it pulled through her, reaching, lifting, warmed by her, and then out of the white lily of her throat and straight to God in heaven.'