"What is the value of Black life in America?" In Avidly Reads Passages, Michelle D. Commander plies four freighted modes of travel—the slave ship, train, automobile, and bus—to map the mobility of her ancestors over the past five centuries. In the process, she refreshes the conventional American travel narrative by telling an urgent story about how history shapes what moves us, as well as what prevents so many Black Americans from moving or being moved. Anchored in her maternal kin’s long history on and alongside plantations in rural South Carolina, Commander explores her family members’ ability and inability to navigate safely through space, time, and emotion, detailing how Black lives were shaped by the actual vehicles that promised an escape from the confines of American racism, yet nearly always failed to deliver on those promises. Using personal and public archives, Avidly Reads Passages unfolds distinct histories of transatlantic slavery ships, the possibilities presented by rail lines in the Reconstruction South, the fateful legacies of school busing, and the ways that Black Americans attempted to negotiate their automobility, including through the use of road and travel compendiums such as Travelguide and The Negro Motorist Green Book. In order to understand the intricacies of slavery and its aftermath, Commander began her exploration with the hope of engaging with the difficult evidences and stubborn gaps in her family’s genealogy; what she produced is a biting and elegiac reflection on working-class life in the Black South. Commander demonstrates that the forms of intimidation, brutality, surveillance, and restriction used to control Black mobility have merely evolved since slavery, marking Black life writ large in America, with neither the passage of time nor the passage of laws assuring true and adequate racial progress. Despite this bleak observation, Commander catalogs and celebrates, through affecting stories about her beloved South Carolina community, the compelling strivings of Southern Black people to survive by holding on firmly to family, and their faith that new worlds could be imagined, created, and traveled to someday. Part of the Avidly Reads series, this slim book gives us a new way of looking at American culture. With the singular blend of personal reflection and cultural criticism featured in the series, Avidly Reads Passages offers a unique lens through which to capture the intricacies of Black life.

“Here’s the thing with kissing: it matters intensely or not at all.” Mid-kiss, do you ever wonder who you are, who you’re kissing, where it’s leading? It can feel luscious, libidinal, friendly, but are we trying to make out something through our kissing? For Kathryn Bond Stockton, making out is a prism through which to look at the cultural and political forces of our world: race, economics, childhood, books, and movies. Making Out is Stockton’s memoir about a non-binary childhood before that idea existed in her world. We think about kissing as we accompany Stockton to the bedroom, to the closet, to the playground, to the movies, and to solitary moments with a book, the ultimate source of pleasure. Avidly Reads is a series of short books about how culture makes us feel. Founded in 2012 by Sarah Blackwood and Sarah Mesle, Avidly—an online magazine supported by the Los Angeles Review of Books—specializes in short-form critical essays devoted to thinking and feeling. Avidly Reads is an exciting new series featuring books that are part memoir, part cultural criticism, each bringing to life the author’s emotional relationship to a cultural artifact or experience. Avidly Reads invites us to explore the surprising pleasures and obstacles of everyday life.

“Theory offered us a way of understanding the world that, like so many youthful exuberances, was both vital and ridiculous.” As an avowed “theory head,” Jordan Alexander Stein confronts a contradiction: that the abstract, and often frustrating rigors of theory also produced a sense of pride and identity for him and his friends: an idea of how to be and a way to live. Although Stein explains what theory is, this is not an introduction or a how-to. Organized around five ways that theory makes us feel—silly, stupid, sexy, seething and stuck—Stein travels back to the late nineties to tell a story of coming of age at a particular moment and to measure how that moment lives on now. Avidly Reads is a series of short books about how culture makes us feel. Founded in 2012 by Sarah Blackwood and Sarah Mesle, Avidly—an online magazine supported by the Los Angeles Review of Books—specializes in short-form critical essays devoted to thinking and feeling. Avidly Reads is an exciting new series featuring books that are part memoir, part cultural criticism, each bringing to life the author’s emotional relationship to a cultural artifact or experience. Avidly Reads invites us to explore the surprising pleasures and obstacles of everyday life. This is a story about the emotional lives of ideas.

Avidly Reads is a series of short books about how culture makes us feel. Founded in 2012 by Sarah Blackwood and Sarah Mesle, Avidly—an online magazine supported by the Los Angeles Review of Books—specializes in short-form critical essays devoted to thinking and feeling. Avidly Reads is an exciting new series featuring books that are part memoir, part cultural criticism, each bringing to life the author’s emotional relationship to a cultural artifact or experience. Avidly Reads invites us to explore the surprising pleasures and obstacles of everyday life. Writer and critic Eric Thurm digs deep into his own experience as a board game enthusiast to explore the emotional and social rules that games create and reveal, telling a series of stories about a pastime that is also about relationships. From the outdated gender roles in Life and Mystery Date to the cutthroat, capitalist priorities of Monopoly and its socialist counterpart, Class Struggle, Thurm thinks through his ongoing rivalries with his siblings and ponders the ways games both upset and enforce hierarchies and relationships—from the familial to the geopolitical. Like sitting down at the table for family game night, Board Games is an engaging book of twists and turns, trivia, and nostalgia.

In Afro-Atlantic Flight Michelle D. Commander traces how post-civil rights Black American artists, intellectuals, and travelers envision literal and figurative flight back to Africa as a means by which to heal the dispossession caused by the slave trade. Through ethnographic, historical, literary, and filmic analyses, Commander shows the ways that cultural producers such as Octavia Butler, Thomas Allen Harris, and Saidiya Hartman engage with speculative thought about slavery, the spiritual realm, and Africa, thereby structuring the imaginary that propels future return flights. She goes on to examine Black Americans’ cultural heritage tourism in and migration to Ghana; Bahia, Brazil; and various sites of slavery in the US South to interrogate the ways that a cadre of actors produces “Africa” and contests master narratives. Compellingly, these material flights do not always satisfy Black Americans’ individualistic desires for homecoming and liberation, leading Commander to focus on the revolutionary possibilities inherent in psychic speculative returns and to argue for the development of a Pan-Africanist stance that works to more effectively address the contemporary resonances of slavery that exist across the Afro-Atlantic.

"More Americans are reading poetry in the 21st century than ever before. This books asks: how do poems come to us? How do they make us feel and think and act when they do? Who and what is poetry for? Who does poetry include and exclude, and what can we learn from it? Each chapter links a reason why we might read poetry (to want, to learn, to resist, to soothe) with a type of poem (the sonnet, the alphabet poem, the documentary poem, the internet poem). Through readings of poems written in English from Shakespeare through today, and through reading the American cultures in which we read them, the book thinks about how poems are embedded in our lives: in our loves, our educations, our politics, and our social media, sometimes in spite of, and sometimes very much because of the nation we live in"--

J-Rod moves like a small tank on the court, his face mean, staring down his opponents. "I play just like my father," he says. "Before my father died, he was a problem on the court. I'm a problem." Playing basketball for him fuses past and present, conjuring his father's memory into a force that opponents can feel in each bone-snapping drive to the basket. On the street, every ballplayer has a story. Onaje X. O. Woodbine, a former streetball player who became an all-star Ivy Leaguer, brings the sights and sounds, hopes and dreams of street basketball to life. He shows that big games have a trickster figure and a master of black talk whose commentary interprets the game for audiences. The beats of hip-hop and reggae make up the soundtrack, and the ballplayers are half-men, half-heroes, defying the ghetto's limitations with their flights to the basket. Basketball is popular among young black American men but not because, as many claim, they are "pushed by poverty" or "pulled" by white institutions to play it. Black men choose to participate in basketball because of the transcendent experience of the game. Through interviews with and observations of urban basketball players, Onaje X. O. Woodbine composes a rare portrait of a passionate, committed, and resilient group of athletes who use the court to mine what urban life cannot corrupt. If people turn to religion to reimagine their place in the world, then black streetball players are indeed the hierophants of the asphalt.