In Pandemic: Tracking Contagions, from Cholera to Ebola and Beyond, Sonia Shah interweaves history, original reportage, and personal narrative to explore the origins of epidemics, drawing parallels between cholera―one of history’s most deadly and disruptive pandemic-causing pathogens―and the new diseases that stalk humankind today. She tracks each stage of cholera’s dramatic journey, from its emergence in the South Asian hinterlands as a harmless microbe to its rapid dispersal across the nineteenth-century world, all the way to its latest beachhead in Haiti. Along the way she reports on the pathogens now following in cholera’s footsteps, from the MRSA bacterium that besieges her own family to the never-before-seen killers coming out of China’s wet markets, the surgical wards of New Delhi, and the suburban backyards of the East Coast.

In The Fever, journalist Sonia Shah sets out to answer those questions, delivering a timely, inquisitive chronicle of the illness and its influence on human lives. Through the centuries, she finds, we've invested our hopes in a panoply of drugs and technologies, and invariably those hopes have been dashed. From the settling of the New World to the construction of the Panama Canal, through wartimes and the advances of the Industrial Revolution, Shah tracks malaria's jagged ascent and the tragedies in its wake, revealing a parasite every bit as persistent as the insects that carry it.  With distinguished prose and original reporting from Panama, Malawi, Cameroon, India, and elsewhere, The Fever captures the curiously fascinating, devastating history of this long-standing thorn in the side of humanity.

Hailed by John le Carré as "an act of courage on the part of its author" and singled out for praise by the leading medical journals in the United States and the United Kingdom, The Body Hunters uncovers the real-life story behind le Carré's acclaimed novel The Constant Gardener and the feature film based on it. Drawing on years of original research and reporting in Africa and Asia, Shah examines how the multinational pharmaceutical industry, in its quest to develop lucrative drugs, has begun exporting its clinical research trials to the developing world, where ethical oversight is minimal and desperate patients abound. As the New England Journal of Medicine notes, "it is critical that those engaged in drug development, clinical research and its oversight, research ethics, and policy know about these stories," which tell of an impossible choice being faced by many of the world's poorest patients―be experimented upon or die for lack of medicine.

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.

In Magical/Realism, Vanessa Angélica Villarreal offers us an intimate mosaic of migration, violence, and colonial erasure through the lens of her marriage and her experiences navigating American monoculture. As she attempts to recover the truth from the absences and silences within her life, her relationships, and those of her ancestors, Vanessa pieces together her story from the fragments of music, memory, and fantasy that have helped her make sense of it all. 

In the luminously told Still As Bright, the story of the Moon traverses time and space, rendering a range of human experiences—from the beliefs of ancient cultures to the science of Galileo’s telescopic discoveries, from the obsessions of colorful 19th century “selenographers” to the astronauts of Apollo and, now, Artemis. Still As Bright also traces Cokinos's own lunar pilgrimage. With his backyard telescope, he explores the surface of the Moon, while rooted in places both domestic and wild, and this award-winning poet and writer rediscovers feelings of solace, love and wonder in the midst of loss and change. Simultaneously steeped in rigorous cultural and scientific history, as well as memoir, Still As Bright is a thoughtful, deeply moving, evergreen natural history.

Sante’s memoir braids together two threads of personal narrative: the arc of her life, and her recent step-by-step transition to a place of inner and outer alignment. Sante brings a loving irony to her account of her unsteady first steps; there was much she found she still needed to learn about being a woman after some sixty years cloaked in a man’s identity, in a man’s world. A marvel of grace and empathy, I Heard Her Call My Name parses with great sensitivity many issues that touch our lives deeply, of gender identity and far beyond.

Throughout her childhood, Safiya Sinclair’s father, a volatile reggae musician and militant adherent to a strict sect of Rastafari, became obsessed with her purity, in particular, with the threat of what Rastas call Babylon, the immoral and corrupting influences of the Western world outside their home. He worried that womanhood would make Safiya and her sisters morally weak and impure, and believed a woman’s highest virtue was her obedience. In an effort to keep Babylon outside the gate, he forbade almost everything. As Safiya watched her mother struggle voicelessly for years under the rigidity of her father’s beliefs, she increasingly used her education as a sharp tool with which to find her voice and break free. As Safiya’s voice grows, poetically, a collision course is set between them.

Czesław Miłosz (1911–2004) was a giant of twentieth-century literature, not least because he lived through and wrote about many of the most extreme events of that extreme century, from the world wars and the Holocaust to the Cold War. Over a seven-decade career, he produced an important body of poetry, fiction, and nonfiction, including classics such as The Captive Mind, a reflection on the hypnotic power of ideology, and Native Realm, a memoir. In this book, Eva Hoffman, like Miłosz a Polish-born writer who immigrated to the West, presents an eloquent personal portrait of the life and work of her illustrious fellow exile.