Crude is the unexpurgated story of oil, from the circumstances of its birth millions of years ago to the spectacle of its rise as the indispensable ingredient of modern life. In addition to fueling our SUVs and illuminating our cities, crude oil and its byproducts fertilize our produce, pave our roads, and make plastic possible. “Newborn babies,” observes author Sonia Shah, “slide from their mothers into petro-plastic-gloved hands, are swaddled in petro-polyester blankets, and are hurried off to be warmed by oil-burning heaters.” The modern world is drenched in oil; Crude tells how it came to be. A great human drama emerges, of discovery and innovation, risk, the promise of riches, and the power of greed.

In a series of intertwined, original, and daring readings of Ferrante’s work and her fictional world, Sarah Chihaya, Merve Emre, Katherine Hill, and Juno Jill Richards strike a tone at once critical and personal, achieving a way of talking about literature that falls between the seminar and the book club. Their letters make visible the slow, fractured, and creative accretion of ideas that underwrites all literary criticism and also illuminate the authors’ lives outside the academy. The Ferrante Letters offers an improvisational, collaborative, and cumulative model for reading and writing with others, proposing a new method the authors call collective criticism. A book for fans of Ferrante and for literary scholars seeking fresh modes of intellectual exchange, The Ferrante Letters offers incisive criticism, insouciant riffs, and the pleasure of giving oneself over to an extended conversation about fiction with friends.

For six years, Evangelista had the distinctive beat of chronicling the killings carried out by police and vigilantes in the name of Duterte’s war on drugs – a war that has led to the slaughter of thousands – immersing herself in the world of killers and survivors and capturing the atmosphere of fear created when an elected president decides that some lives are worth less than others. Some People Need Killing is Evangelista’s meticulously reported and deeply human chronicle of the Philippines’ drug war and Duterte’s assault on the country’s struggling democracy. 

In Black Folk, historian Blair LM Kelley restores the Black working class to the center of the American story. Spanning two hundred years—from one of Kelley’s earliest known ancestors, an enslaved blacksmith, to the essential workers of the Covid-19 pandemic—Black Folk highlights the lives of the Black working class as a force in the late nineteenth and early twentieth centuries.

In Crossings, Ben Goldfarb delves into the new science of road ecology to explore how roads have altered the natural world, from fragmenting wildlife populations and disrupting migration to bending the arc of evolution itself. But road ecologists are seeking innovative solutions: Goldfarb meets with conservationists building bridges for mountain lions and tunnels for toads, engineers deconstructing logging roads, and citizens undoing the havoc highways have wreaked upon cities, all working toward a better future for all living beings.

Codjoe's poems explore how the archetype of the artist complicates the typical expectations of women: be gazed upon, be silent, be selfless, reproduce. Dialoguing with and through art, Bluest Nude considers alternative ways of holding and constructing the self. From Lorna Simpson to Gwendolyn Brooks to Lynette Yiadom-Boakye, contemporary and ancestral artists populate Bluest Nude in a choreography of Codjoe's making. Startling and seductive in equal measure, this formally ambitious collection represents a powerful, luminous beginning.

At Banneker Terrace, everybody knows everybody, or at least knows of them. Longtime tenants' lives are entangled together in the ups and downs of the day-to-day, for better or for worse. The neighbors in the unit next door are friends or family, childhood rivals or enterprising business partners. In other words, Harlem is home. But the rent is due, and the clock of gentrification—never far from anyone's mind—is ticking louder now than ever. In eight interconnected stories, Sidik Fofana conjures a residential community under pressure. 

Charlene is a divorced mom, has a young son named Brandon, and works full-time as a nurse while also caring for her infirm father. She is barely holding their lives together when tragedy strikes and leaves Charlene and Brandon on their own. Charlene, who has put everyone but herself first for years, sees it as an opportunity for a new start of sorts. That is, at least, until her easy-come, easy-go brother, Robbie — a well-intentioned but unserious semi-professional musician — rolls back into town after a long absence. No One Else is a graphic novel of great tender truth, as Charlene, Brandon, and Robbie learn to navigate life day to day with their plans, fears, and desires.