Centuries after the last humans left Earth, the Exodus Fleet is a living relic, a place many are from but few outsiders have seen. Humanity has finally been accepted into the galactic community, but while this has opened doors for many, those who have not yet left for alien cities fear that their carefully cultivated way of life is under threat.

Tessa chose to stay home when her brother Ashby left for the stars, but has to question that decision when her position in the Fleet is threatened. Kip, a reluctant young apprentice, itches for change but doesn't know where to find it. Sawyer, a lost and lonely newcomer, is just looking for a place to belong. When a disaster rocks this already fragile community, those Exodans who still call the Fleet their home can no longer avoid the inescapable question: What is the purpose of a ship that has reached its destination?

The Overstory, winner of the Pulitzer Prize in Fiction, is a sweeping, impassioned work of activism and resistance that is also a stunning evocation of—and paean to—the natural world. From the roots to the crown and back to the seeds, Richard Powers’s twelfth novel unfolds in concentric rings of interlocking fables that range from antebellum New York to the late twentieth-century Timber Wars of the Pacific Northwest and beyond. There is a world alongside ours—vast, slow, interconnected, resourceful, magnificently inventive, and almost invisible to us.

This is the story of a handful of people who learn how to see that world and who are drawn up into its unfolding catastrophe.

In Reclaiming the Discarded, Kathleen M. Millar offers an evocative ethnography of Jardim Gramacho, a sprawling garbage dump on the outskirts of Rio de Janeiro, where roughly two thousand self-employed workers known as catadores collect recyclable materials. While the figure of the scavenger sifting through garbage seems iconic of wageless life today, Millar shows how the work of reclaiming recyclables is more than a survival strategy or an informal labor practice.

Rather, the stories of catadores show how this work is inseparable from conceptions of the good life and from human struggles to realize these visions within precarious conditions of urban poverty. By approaching the work of catadores as highly generative, Millar calls into question the category of informality, common conceptions of garbage, and the continued normativity of wage labor. In so doing, she illuminates how waste lies at the heart of relations of inequality and projects of social transformation.