With new essays on the crises of 2020 “Amazing.” —Amy Schumer In Nothing Is Wrong and Here Is Why, acclaimed Washington Post satirist Alexandra Petri offers perfectly logical, reassuring reasons for everything that has happened in recent American politics that will in no way unsettle your worldview. In essays both new and adapted from her viral columns, Petri reports that the Trump administration was as competent as it was uncorrupted, white supremacy has never been less rampant, and men have been silenced for too long. The “woman card” is a powerful card to play! Q-Anon makes perfect sense! This Panglossian venture into our swampy present offers a virtuosic first draft of history that chronicles the chaotic half-decade from the twilight of the Obama years to the final gasp of the Trump administration. “One of the difficulties of being alive today,” Petri notes, “is that everything is absurd but fewer and fewer things are funny.” Written with devastating wit that reveals a persistent, perhaps manic optimism about her benighted country, Petri’s essays have become iconic expressions of rage and anger, read and liked and shared by hundreds of thousands of people. Nothing Is Wrong and Here Is Why shows why she has emerged as the preeminent political satirist of her generation.

A finalist for the Thurber Prize With new essays on the crises of 2020 “Amazing.” —Amy Schumer In Nothing Is Wrong and Here Is Why, acclaimed Washington Post satirist Alexandra Petri offers perfectly logical, reassuring reasons for everything that has happened in recent American politics that will in no way unsettle your worldview. In essays both new and adapted from her viral columns, Petri reports that the Trump administration was as competent as it was uncorrupted, white supremacy has never been less rampant, and men have been silenced for too long. The “woman card” is a powerful card to play! Q-Anon makes perfect sense! This Panglossian venture into our swampy present offers a virtuosic first draft of history that chronicles the chaotic half-decade from the twilight of the Obama years to the final gasp of the Trump administration. “One of the difficulties of being alive today,” Petri notes, “is that everything is absurd but fewer and fewer things are funny.” Written with devastating wit that reveals a persistent, perhaps manic optimism about her benighted country, Petri’s essays have become iconic expressions of rage and anger, read and liked and shared by hundreds of thousands of people. Nothing Is Wrong and Here Is Why shows why she has emerged as the preeminent political satirist of her generation.

George Orwell set out ‘to make political writing into an art’, and to a wide extent this aim shaped the future of English literature – his descriptions of authoritarian regimes helped to form a new vocabulary that is fundamental to understanding totalitarianism. While 1984 and Animal Farm are amongst the most popular classic novels in the English language, this new series of Orwell’s essays seeks to bring a wider selection of his writing on politics and literature to a new readership. In Why I Write, the first in the Orwell’s Essays series, Orwell describes his journey to becoming a writer, and his movement from writing poems to short stories to the essays, fiction and non-fiction we remember him for. He also discusses what he sees as the ‘four great motives for writing’ – ‘sheer egoism’, ‘aesthetic enthusiasm’, ‘historical impulse’ and ‘political purpose’ – and considers the importance of keeping these in balance. Why I Write is a unique opportunity to look into Orwell’s mind, and it grants the reader an entirely different vantage point from which to consider the rest of the great writer’s oeuvre. 'A writer who can – and must – be rediscovered with every age.' — Irish Times

Washington Post columnist Alexandra Petri turns her satirical eye on her own life in this hilarious new memoir... Most twentysomethings spend a lot of time avoiding awkwardness. Not Alexandra Petri. Afraid of rejection? Alexandra Petri has auditioned for America’s Next Top Model. Afraid of looking like an idiot? Alexandra Petri lost Jeopardy! by answering “Who is that dude?” on national TV. Afraid of bad jokes? Alexandra Petri won an international pun championship. Petri has been a debutante, reenacted the Civil War, and fended off suitors at a Star Wars convention while wearing a Jabba the Hutt suit. One time, she let some cult members she met on the street baptize her, just to be polite. She’s a connoisseur of the kind of awkwardness that most people spend whole lifetimes trying to avoid. If John Hodgman and Amy Sedaris had a baby…they would never let Petri babysit it. But Petri is here to tell you: Everything you fear is not so bad. Trust her. She’s tried it. And in the course of her misadventures, she’s learned that there are worse things out there than awkwardness—and that interesting things start to happen when you stop caring what people think.

A National Book Critics Circle Finalist for Criticism A deeply Malcolmian volume on painters, photographers, writers, and critics. Janet Malcolm's In the Freud Archives and The Journalist and the Murderer, as well as her books about Sylvia Plath and Gertrude Stein, are canonical in the realm of nonfiction—as is the title essay of this collection, with its forty-one "false starts," or serial attempts to capture the essence of the painter David Salle, which becomes a dazzling portrait of an artist. Malcolm is "among the most intellectually provocative of authors," writes David Lehman in The Boston Globe, "able to turn epiphanies of perception into explosions of insight." Here, in Forty-one False Starts, Malcolm brings together essays published over the course of several decades (largely in The New Yorker and The New York Review of Books) that reflect her preoccupation with artists and their work. Her subjects are painters, photographers, writers, and critics. She explores Bloomsbury's obsessive desire to create things visual and literary; the "passionate collaborations" behind Edward Weston's nudes; and the character of the German art photographer Thomas Struth, who is "haunted by the Nazi past," yet whose photographs have "a lightness of spirit." In "The Woman Who Hated Women," Malcolm delves beneath the "onyx surface" of Edith Wharton's fiction, while in "Advanced Placement" she relishes the black comedy of the Gossip Girl novels of Cecily von Zeigesar. In "Salinger's Cigarettes," Malcolm writes that "the pettiness, vulgarity, banality, and vanity that few of us are free of, and thus can tolerate in others, are like ragweed for Salinger's helplessly uncontaminated heroes and heroines." "Over and over," as Ian Frazier writes in his introduction, "she has demonstrated that nonfiction—a book of reporting, an article in a magazine, something we see every day—can rise to the highest level of literature." One of Publishers Weekly's Best Nonfiction Books of 2013

#1 NEW YORK TIMES BESTSELLER • Lambda Literary Award for Bisexual Nonfiction Award Winner • A rip-roaring, edgy and unabashedly raunchy new collection of hilarious essays from the New York Times bestselling author of We Are Never Meeting in Real Life. “Stay-up-all-night, miss-your-subway-stop, spit-out-your-beverage funny.” —Jia Tolentino, New York Times bestselling author of Trick Mirror Irby is forty, and increasingly uncomfortable in her own skin despite what Inspirational Instagram Infographics have promised her. She has left her job as a receptionist at a veterinary clinic, has published successful books and has been friendzoned by Hollywood, left Chicago, and moved into a house with a garden that requires repairs and know-how with her wife in a Blue town in the middle of a Red state where she now hosts book clubs and makes mason jar salads. This is the bourgeois life of a Hallmark Channel dream. She goes on bad dates with new friends, spends weeks in Los Angeles taking meetings with "tv executives slash amateur astrologers" while being a "cheese fry-eating slightly damp Midwest person," "with neck pain and no cartilage in [her] knees," who still hides past due bills under her pillow. The essays in this collection draw on the raw, hilarious particulars of Irby's new life. Wow, No Thank You. is Irby at her most unflinching, riotous, and relatable. Don't miss Samantha Irby's bestselling new book, Quietly Hostile!

From the late editor, writer, and critic, one of the great chroniclers of the art, fashion, and celebrity scenes: an expansive collection of thirty-five essays that offer an intimate look into the worlds of some of the most important and well-known artists, designers, and actors of our time. For more than three decades, Ingrid Sischy's profiles and critical essays have been admired for their keen observation and playful style. Many of the pieces that appeared in The New York Times Magazine, The New Yorker, and Vanity Fair from the 1980s to 2015 are gathered here for the first time, including her masterful profiles of Nicole Kidman, Kristen Stewart, Miuccia Prada, Calvin Klein, Jeff Koons, Jean Pigozzi, Alice Neel, and Francesco Clemente, among others, as well as her exclusive interview with John Galliano after his career nose-dived in 2011. Whether writing about a young Alexander McQueen, the photography of Robert Mapplethorpe, Sebastião Salgado, Cindy Sherman, or Bob Richardson, or the Japanese musical theater group Takarazuka Revue, Sischy's close attention to the unexpectedly telling detail results in vividly crafted, incisive portraits of individuals and their works. Here is a unique collection that gives readers unprecedented access to a dazzling range of artists from one of the greatest cultural critics of a generation.