African American women protagonists lose and find love, confront sanity and craziness, and strive to make sense of their lives in North Carolina. A Jehovah's Witness girl goes door-to-door with an expert field-service partner from up north. At a call center, operator Sheila fields a caller's uncomfortable questions under a ruthless supervisor's eye. Forty-something Aunt Ginny surprises the family by finding a husband, but soon she gives them more to talk about.

Pulitzer-Prize winner Edward P. Jones writes "Watts offers an impressive debut that promises only wonderful work to come." Fiction writer Marly Swick agrees: "Each story seems, at the same time, to be a breath of fresh air and an instant classic." Author Alyce Miller notes that "Watts writes with a penetrating eye for the extraordinary moments in the lives of ordinary people. As I read, I found myself holding my breath."

She writes about sex, children's books, the media, breast implants, and the mind of an antiabortionist. She invokes Moby Dick and Gilligan's Island, Lorena Bobbitt and Lysistrata ("the original woman's strike-for-peace-nik"). For more than a decade, in her wonderfully provocative, wittily astute, graceful and gutsy pieces in The Nation, The New Yorker and The New York Times, she has taken the strongest positions on the thorniest moral issues and the most controversial events, from date rape to surrogate motherhood, to violence against women, to the Anita Hill hearings, to fetal rights and mothers' "wrongs." The best of her pieces are gathered here.

The first book by Katha Pollitt, with poems exploring a diversity of subjects including ballet, Japanese paintings, and a satirical view of vegetables. Winner of the National Book Critics Circle Award (1983).

"No one sat me down and told me I was a Negro. That was something I figured out on the sly..."So begins acclaimed critic and novelist Darryl Pinckney’s debut novel, High Cotton, an elegant and insightful look into the world of upper-middle-class black elite, or, in a term popularized by W. E. B. Du Bois, “the talented tenth.” The story follows an unnamed narrator as he moves from his safe childhood in conservative Indianapolis to a brief tenure as minister of information for a local radical organization, to eventually settling into the life as an expatriate in Paris. Through it all, his imagination is increasingly dominated by his elderly African American relations and the lessons of their experiences in the “Old Country” of the South.Challenging the traditional form of the novel in its use of both fiction and autobiography, High Cotton, winner of the Los Angeles Times Art Seidenbaum Award for First Fiction, signaled the arrival of a powerful literary force in American letters.

Blackballed is Darryl Pinckney’s meditation on a century and a half of participation by blacks in US electoral politics. In this combination of memoir, historical narrative, and contemporary political and social analysis, he investigates the struggle for black voting rights from Reconstruction through the civil rights movement to Barack Obama’s two presidential campaigns. Drawing on the work of scholars, the memoirs of civil rights workers, and the speeches and writings of black leaders like Martin Luther King and Stokely Carmichael, Andrew Young and John Lewis, Pinckney traces the disagreements among blacks about the best strategies for achieving equality in American society as well as the ways in which they gradually came to create the Democratic voting bloc that contributed to the election of the first black president. Interspersed through the narrative are Pinckney’s own memories of growing up during the civil rights era and the reactions of his parents to the changes taking place in American society. He concludes with an examination of ongoing efforts by Republicans to suppress the black vote, with particular attention to the Supreme Court’s recent decision striking down part of the Voting Rights Act of 1965. Also included here is Pinckney’s essay “What Black Means Now,” on the history of the black middle class, stereotypes about blacks and crime, and contemporary debates about “post-blackness.”

Philip Roth is one of the most renowned writers of our time. From his debut, Goodbye, Columbus, which won the National Book Award in 1960, and the explosion of Portnoy’s Complaint in 1969 to his haunting reimagining of Anne Frank’s story in The Ghost Writer ten years later and the series of masterworks starting in the mid-eighties—The Counterlife, Patrimony, Operation Shylock, Sabbath’s Theater, American Pastoral, The Human Stain—Roth has produced some of the great American literature of the modern era. And yet there has been no major critical work about him until now. Here, at last, is the story of Roth’s creative life.

Roth Unbound is not a biography—though it contains a wealth of previously undisclosed biographical details and unpublished material—but something ultimately more rewarding: the exploration of a great writer through his art. Claudia Roth Pierpont, a staff writer for The New Yorker, has known Roth for nearly a decade. Her carefully researched and gracefully written account is filled with remarks from Roth himself, drawn from their ongoing conversations. Here are insights and anecdotes that will change the way many readers perceive this most controversial and galvanizing writer: a young and unhappily married Roth struggling to write; a wildly successful Roth, after the uproar over Portnoy, working to help writers from Eastern Europe and to get their books known in the West; Roth responding to the early, Jewish—and the later, feminist—attacks on his work. Here are Roth’s family, his inspirations, his critics, the full range of his fiction, and his friendships with such figures as Saul Bellow and John Updike. Here is Roth at work and at play. Roth Unbound is a major achievement—a highly readable story that helps us make sense of one of the most vital literary careers of the twentieth and twenty-first centuries.

A series of extraordinary explorations of the biographies and literary achievements of twelve modern women writers, Passionate Minds tells the stories of women who "rewrote" the world that they inherited, shaping beliefs about vital issues ranging from religion to sex to race to politics. Claudia Roth Pierpont organizes these probing portraits into three sections. Broadly speaking, the first deals with issues of sexual freedom, in essays on Olive Schreiner, Gertrude Stein, Anaïs Nin, and—surprisingly, for those who do not know her as a writer—Mae West. The second section, which examines Margaret Mitchell, Zora Neale Hurston, and Eudora Welty, deals with issues of race and the American South during a period of wrenching change and retrenchment. The third focuses on politics, particularly on the experience and historical interpretation of Soviet Communism and Nazi Germany: the Russian poet Marina Tsvetaeva, Ayn Rand, Doris Lessing, and, in a dual essay that is also a moving account of an enduring friendship, Hannah Arendt and Mary McCarthy.

Throughout, Pierpont anatomizes both the lives and the art of her subjects and suggests their roles in the progress—if it has been progress—that has taken place in the attitudes of women over the course of the century. Individually published in The New Yorker during the past eight years, these essays—brought together in revised and expanded form, and containing ample new material—reveal unsuspected parallels, contrasts, and influences among the twelve women discussed, illuminating each of them in new and startling ways.

In When Blackness Rhymes with Blackness, Rowan Ricardo Phillips pushes African American poetry to its limits by unraveling "our desire to think of African American poetry as African American poetry." Phillips reads African American poetry as inherently allegorical and thus "a successful shorthand for the survival of a poetry but unsuccessful shorthand for the sustenance of its poems." Arguing in favor of the "counterintuitive imagination," Phillips demonstrates how these poems tend to refuse their logical insertion into a larger vision and instead dwell indefinitely at the crux between poetry and race, "where, when blackness rhymes with blackness, it is left for us to determine whether this juxtaposition contains a vital difference or is just mere repetition."

A poignant and terse vision of New York City unfolds in Rowan Ricardo Phillips’s debut book of poetry. A work of rare beauty and grace, The Ground is an entire world, drawn and revealed through contemplation of the post-9/11 landscape. With musicality and precision of thought, Phillips’s poems limn the troubadour’s journey in an increasingly surreal modern world (“I plugged my poem into a manhole cover / That flamed into the first guitar”). The origin of mankind, the origin of the self, the self’s development in the sensuous world, and—in both a literal and a figurative sense—the end of all things sing through Phillips’s supple and idiosyncratic poems. The poet’s subtle formal sophistication—somewhere between flair and restraint—and sense of lyric possibility bring together the hard glint of the contemporary world and the eroded permanence of the archaic one through remixes, underground sessions, Spenserian stanzas, myths, and revamped translations. These are poems of fiery intelligence, inescapable music, and metaphysical splendor that concern themselves with lived life and the life of the imagination—both equally vivid and true—as they lay the framework for Phillips’s meditations on our connection to and estrangement from the natural world.

From Andrew X. Pham, the award-winning author of Catfish and Mandala, comes a son’s searing memoir of his Vietnamese father’s experiences over the course of three wars. Once wealthy landowners, Thong Van Pham’s family was shattered by the tumultuous events of the twentieth century: the festering French occupation of Indochina, the Japanese invasion during World War II, and the Vietnam War. Told in dazzling chapters that alternate between events in the past and those closer to the present, The Eaves of Heaven brilliantly re-creates the trials of everyday life in Vietnam as endured by one man, from the fall of Hanoi and the collapse of French colonialism to the frenzied evacuation of Saigon. Pham offers a rare portal into a lost world as he chronicles Thong Van Pham’s heartbreaks, triumphs, and bizarre reversals of fortune, whether as a South Vietnamese soldier pinned down by enemy fire, a prisoner of the North Vietnamese under brutal interrogation, or a refugee desperately trying to escape Vietnam after the last American helicopter has abandoned Saigon. This is the story of a man caught in the maelstrom of twentieth-century politics, a gripping memoir told with the urgency of a wartime dispatch by a writer of surpassing talent.