The Amazon is not what it seems. As Hugh Raffles shows us in this captivating and innovative book, the world's last great wilderness has been transformed again and again by human activity. In Amazonia brings to life an Amazon whose allure and reality lie as much, or more, in what people have made of it as in what nature has wrought. It casts new light on centuries of encounter while describing the dramatic remaking of a sweeping landscape by residents of one small community in the Brazilian Amazon.

Combining richly textured ethnographic research and lively historical analysis, Raffles weaves a fascinating story that changes our understanding of this region and challenges us to rethink what we mean by "nature." Raffles draws from a wide range of material to demonstrate—in contrast to the tendency to downplay human agency in the Amazon—that the region is an outcome of the intimately intertwined histories of humans and nonhumans. He moves between a detailed narrative that analyzes the production of scientific knowledge about Amazonia over the centuries and an absorbing account of the extraordinary transformations to the fluvial landscape carried out over the past forty years by the inhabitants of Igarapé Guariba, four hours downstream from the nearest city. Engagingly written, theoretically inventive, and vividly illustrated, the book introduces a diverse range of characters—from sixteenth-century explorers and their native rivals to nineteenth-century naturalists and contemporary ecologists, logging company executives, and river-traders. A natural history of a different kind, In Amazonia shows how humans, animals, rivers, and forests all participate in the making of a region that remains today at the center of debates in environmental politics.

This stunning debut novel—drawn from the author's own life experience—tells the moving story of a family of eleven in the American Midwest, bound together and torn apart by their faith. The Rovaniemis and their nine children belong to a deeply traditional church (no drinking, no dancing, no TV) in modern-day Michigan. A normal family in many ways, the Rovaniemis struggle with sibling rivalry, parental expectations, and forming their own unique identities in such a large family. But when two of the children venture from the faith, the family fragments and a haunting question emerges: Do we believe for ourselves, or for each other? Each chapter is told from the distinctive point of view of a different Rovaniemi, drawing a nuanced, kaleidoscopic portrait of this unconventional family. The children who reject the church learn that freedom comes at the almost unbearable price of their close family ties, and those who stay struggle daily with the challenges of resisting the temptations of modern culture. With precision and potent detail, We Sinners follows each character on their journey of doubt, self-knowledge, acceptance, and, ultimately, survival.

Playful and profound, The Interrogative Mood is a bebop solo of a book in which every sentence is a question. In it acclaimed novelist Padgett Powell—a writer once touted as the best of his generation by Saul Bellow—forces us to consider our core beliefs, our most cherished memories, our final views on life, liberty, and the pursuit of happiness. In fiction as in life, there may be no easy answers—but The Interrogative Mood is an exuberant book that leaves the reader feeling more alive.

A novel that has drawn comparisons with the work of J. D. Salinger, Truman Capote, and Flannery O’Connor, Edisto centers on one Simons Everson Manigault, a twelve-year-old possessed of a vocabulary and sophistication way beyond his years and a preadolescent bewilderment with the behavior of adults. These include his mother, who is known as the Duchess, and his enigmatic father-surrogate, Taurus. Imbued with a strong sense of place—an isolated strip of South Carolina coast called Edisto—Padgett Powell’s novel is “truly remarkable . . . both as a narrative and in its extraordinary use of language” (Walker Percy).

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.