Kisses from Nick Flynn, Rebecca Makkai, Pico Iyer, Ilyse Kusnetz, Andre Dubus III, Christian Kiefer, Camille T. Dungy, Major Jackson, Bich Minh Nguyen, Terrance Hayes, Ada Limón, Honor Moore, Téa Obreht and Dan Sheehan, Kazim Ali, Beth Ann Fennelly, and others In this wide-ranging collection of essays, stories, graphic memoir, and cross-genre work, writers explore the deeply human act of kissing, and share their thoughts on a specific kiss—the unexpected and unforgettable, the sublime and the ambiguous, the devastating and the regenerative. Selections from beloved authors “tantalize with such grace that they linger sweetly in your mind for days” (New York Times Book Review), as they explore the messy and complicated intimacies that exist in our actual lives, as well as in the complicated landscape of the imagination. This is a book meant to be read from cover to cover, just as much as it’s meant to be dipped into—with each kiss pulling us closer to the moments in our lives that matter most.

Twenty-one vivid, moving essays on caesarean birth “No one talks about C-sections as surgery,” writes SooJin Pate. “They talk about it as if it’s just another way—albeit more convenient way—of giving birth.” The twenty-one essays in My Caesarean add back to the conversation the missing voices of a vast, invisible sisterhood. Robin Schoenthaler reflects: “A C-section for us meant life.” And yet, women who don’t give birth vaginally—by choice or necessity—often feel stigmatized. “My son’s birth was not a test I needed to pass,” writes Sara Bates. “As if growing a human inside another human for nine months then caring for it the rest of its life isn’t enough,” adds Mary Pan, herself a physician. Alongside their personal stories, the writers—decorated novelists, poets, and essayists—address the history of the C-section as well as its risks, social inequities, impact on the body, and psychological aftermath. My Caesarean is a heartfelt meditation, offering much-needed comfort through shared experience. Contributors include: Catherine Newman, Judy Batalion, Nicole Cooley, Aimee Nezhukumatathil, Lisa Solod, Misty Urban, Jacinda Townsend, Mary Pan, Robin Schoenthaler, Elizabeth Noll, Jen Fitzgerald, Tyrese Coleman, SooJin Pate, Daniela Montoya-Barthelemy, Cameron Dezen Hammon, LaToya Jordan, Sara Bates, Susan Hoffmann, and Alicia Jo Rabins.

In Quagmire you’ll find a range of voices—men and women, military and civilian—and a range of perspectives from the homeland, the combat zone, and war’s aftermath. These personal responses to war in Iraq and Afghanistan have been selected from War, Literature & the Arts: An International Journal of the Humanities to mark the thirtieth anniversary of its inaugural publication. The responses cover approximately fifteen years of the United States’ conflicts in Iraq and Afghanistan and demonstrate the aftermath of war and the degreed ripples that extend beyond soldiers to families and friends, lovers, hometowns, even pets. As citizens, Pablo Neruda advised, we have an obligation to “come and see the blood in the streets.” To ignore what we do in war and what war does to us is to move willfully toward ignorance. To ignore such reminders imperils ourselves, our communities, and our nation.

From the literary master and best-selling author of Townie, reflections on a life of challenges, contradictions, and fulfillments. During childhood summers in Louisiana, Andre Dubus III’s grandfather taught him that men’s work is hard. As an adult, whether tracking down a drug lord in Mexico as a bounty hunter or grappling with privilege while living with a rich girlfriend in New York City, Dubus worked—at being a better worker and a better human being. In Ghost Dogs, Dubus’s nonfiction prowess is on full display in his retelling of his own successes, failures, triumphs, and pain. In his longest essay, “If I Owned a Gun,” Dubus reflects on the empowerment and shame he felt in keeping a gun, and his decision, ultimately, to give it up. Elsewhere, he writes of a violent youth and of settled domesticity and fatherhood, about the omnipresent expectations and contradictions of masculinity, about the things writers remember and those they forget. Drawing upon kindred literary spirits from Rilke to Rumi to Tim O’Brien, Ghost Dogs renders moments of personal revelation with emotional generosity and stylistic grace, ultimately standing as essential witness and testimony to the art of the essay.

A searing memoir on how childhood spills into parenthood from the critically acclaimed author of Another Bullshit Night in Suck City. When Nick Flynn was seven years old, his mother set fire to their house. The event loomed large in his imagination for years, but it’s only after having a child of his own that he understands why. He returns with his young daughter to the landscape of his youth, reflecting on how his feral childhood has him still in its reins, and forms his memories into lyrical bedtime stories populated by the both sinister and wounded Mister Mann. With the spare lyricism and dark irony of his classic, Another Bullshit Night in Suck City, Flynn excavates the terrain of his traumatic upbringing and his mother’s suicide. This Is the Night Our House Will Catch Fire unravels the story of the fire that Flynn had to escape, and the ways in which, as an adult, he has carried that fire with him until it threatens to burn down his own house. Here Nick confronts his failings with fierce candor, even as they threaten to tear his family apart. His marriage in crisis, Flynn seeks answers from his therapist, who tells him he has “the ethics of a drowning man.” This Is the Night Our House Will Catch Fire takes us on the journey of a man struggling to hold himself together in prose that is raw and moving, sharp-edged and wry. Alternating literary analysis and philosophy with intimate memoir, Flynn probes his deepest ethical dilemmas.

Suzanne Roberts explores the link between death and desire and what it means to accept our own animal natures, the parts we most often hide, deny, or consider only with shame—our taboo desires and our grief.

“Unflinching and honest…both timely and timeless” (Houston Chronicle), this extraordinary collection of essays by the award-winning writer of The Other Side—rooted in her own experience with sexual assault—pursues questions that strike at the heart of our national conversation about the justness of society. In 2014, Lacy Johnson was giving a reading from The Other Side, her “instant classic” (Kirkus Reviews) memoir of kidnapping and rape, when a woman asked her what she would like to happen to her rapist. This collection “attempts to parcel out several knotted problems and suggests forms of meaningful justice” (Booklist, starred review). Drawing from philosophy, art, literature, mythology, anthropology, film, and her own experience of violence, Johnson considers how our ideas about justice might be expanded beyond vengeance and retribution to include acts of compassion, patience, mercy, and grace. “The Reckonings is not a book about changing the world. It’s philosophy in disguise, equal parts memoir, criticism, and ethics…The twelve essays deserve great consideration, while you read it and long after” (NPR). From “Speak Truth to Power,” about the condition of not being believed about rape and assault; to “Goliath,” about the ways evil is used as a form of social control; to “The Fallout,” about ecological and generational violence, Johnson creates masterful, elaborate, gorgeously written essays that speak incisively about our current era. She grapples with justice and retribution, truth and fairness, and sexual assault and workplace harassment, as well as the broadest societal wrongs: the BP Oil Spill, government malfeasance, police killings. The Reckonings is a powerful and necessary work, ambitious in its scope, which “challenges our culture’s expectations of justice and expose the limits of vengeance and mercy” (Ms. Magazine).