Based on select writings from a collection of more than two thousand Dutch diaries written during World War II in order to record this unparalleled time, and maintained by devoted archivists, The Diary Keepers illuminates a part of history we haven’t seen in quite this way before, from the stories of a Nazi sympathizing police officer to a Jewish journalist who documented daily activities at a transport camp.

Master Slave Husband Wife is the remarkable true story of Ellen and William Craft, who escaped slavery through daring, determination, and disguise, with Ellen passing as a wealthy, disabled White man and William posing as "his" slave. Their monumental bid for freedom is an American love story challenging the nation's core precepts of life, liberty, and justice for all, then and now.

A timely investigation by two award-winning reporters, The Riders Come Out at Night is the authoritative account of the Oakland Police Department's troubling history of violence, secrecy, and mismanagement, reflecting why reform has been an elusive goal for the entire nation.

This first major biography of David Smith, called "the greatest American sculptor of the twentieth century", chronicles his tempestuous personal and professional life from the Midwest to Manhattan. Richly illustrated with more than one hundred photographs, Brenson has contextualized Smith for a new generation of fans and confirmed his singular place in the history of American art.

A powerful and gripping debut, Rachel Aviv raises fundamental questions about how we understand ourselves in periods of crisis and distress. Drawing on deep, original reporting as well as unpublished journals and memoirs, Aviv writes about people who have come up against the limits of psychiatric explanations for who they are.

AnaÏs Duplan reinvents ekphrasis as an act of devotion to art as both the sense-archive and future tense of Black embodiment. In this vibrant thinkspace (where thinking is singing), Duplan hosts a vivid community of Black musicians, performers, painters, photographers, poets, critics, filmmakers and video artists, even a chorus of lovelorn chatroom denizens. I NEED MUSIC hosts the lyric re-arrivals of unquiet pasts, enacts a haptic intimacy with the present, and vibrates with the immanence of Black, queer futures.

While the spectacle of state violence fleetingly commands a collective gaze, Civil Service turns to the quotidian where political regimes are diffusely maintained—where empire is the province of not a few bad actors, but of all who occupy and operate the state. In these poems populated by characters named for their occupations and mutable positions of power—the  Accountant, the Intern, the Board Chair—catastrophic events recede as the demands and rewards of daily life take precedence.

In her genre-bending debut story collection, Nana Nkweti's virtuosity is on full display as she mixes deft realism with clever inversions of genre. In the Caine Prize finalist story "It Takes a Village, Some Say," Nkweti skewers racial prejudice and the practice of international adoption, delivering a sly tale about a teenage girl who leverages her adoptive parents to fast-track her fortunes. In "The Devil Is a Liar," a pregnant pastor's wife struggles with the collision of western Christianity and her mother's traditional Cameroonian belief system as she worries about her unborn child. In other stories, Nkweti vaults past realism, upending genre expectations in a satirical romp about a jaded PR professional trying to spin a zombie outbreak in West Africa, and in a mermaid tale about a Mami Wata who forgoes her power by remaining faithful to a fisherman she loves. In between these two ends of the spectrum there's everything from an aspiring graphic novelist at a comic con to a murder investigation driven by statistics to a story organized by the changing hairstyles of the main character.