A unique anthology that brings together examples of once wildly popular but long out-of-print African market literature never intended as art: irresistibly charming, brief literary anomalies in all genres, written for entertainment, instruction, and moral guidance. An indigenous Nigerian publishing phenomenon that was all the rage from World War II until the late 1960s, Onitsha Market literature consisted of pamphlets that contained stories, novels, plays, discourses on the dangers of loose living, and advice on matters ranging from selecting a wife to managing your money. They carried titles such as" Lack of Money Is Not Lack of Sense," "Drunkards Believe Bar As Heaven," "No Condition Is Permanent," and "How to Write Love Letters, Toasts, and Business Letters." Originally sold at Onitsha Market (the largest open-air market in Africa), the pamphlets have become priceless collectors' items. This anthology--facsimile reproductions of the original texts, illustrations, and cover art--now makes them available to a wider audience.

In Manning Up, Manhattan Institute fellow and City Journal contributing editor Kay Hymowitz argues that the gains of the feminist revolution have had a dramatic, unanticipated effect on the current generation of young men. Traditional roles of family man and provider have been turned upside down as "pre-adult" men, stuck between adolescence and "real" adulthood, find themselves lost in a world where women make more money, are more educated, and are less likely to want to settle down and build a family. Their old scripts are gone, and young men find themselves adrift. Unlike women, they have no biological clock telling them it's time to grow up. Hymowitz argues that it's time for these young men to "man up."

The National Book Critics Circle Award–winning author delivers a collection of essays that serve as the perfect “antidote to mansplaining” (The Stranger). In her comic, scathing essay “Men Explain Things to Me,” Rebecca Solnit took on what often goes wrong in conversations between men and women. She wrote about men who wrongly assume they know things and wrongly assume women don’t, about why this arises, and how this aspect of the gender wars works, airing some of her own hilariously awful encounters. She ends on a serious note— because the ultimate problem is the silencing of women who have something to say, including those saying things like, “He’s trying to kill me!” This book features that now-classic essay with six perfect complements, including an examination of the great feminist writer Virginia Woolf’s embrace of mystery, of not knowing, of doubt and ambiguity, a highly original inquiry into marriage equality, and a terrifying survey of the scope of contemporary violence against women. “In this series of personal but unsentimental essays, Solnit gives succinct shorthand to a familiar female experience that before had gone unarticulated, perhaps even unrecognized.” —The New York Times “Essential feminist reading.” —The New Republic “This slim book hums with power and wit.” —Boston Globe “Solnit tackles big themes of gender and power in these accessible essays. Honest and full of wit, this is an integral read that furthers the conversation on feminism and contemporary society.” —San Francisco Chronicle “Essential.” —Marketplace “Feminist, frequently funny, unflinchingly honest and often scathing in its conclusions.” —Salon

NATIONAL BESTSELLER • Discover the game-changing theory of the cycles of history and what past generations can teach us about living through times of upheaval—with deep insights into the roles that Boomers, Generation X, and Millennials have to play—now with a new preface by Neil Howe. First comes a High, a period of confident expansion. Next comes an Awakening, a time of spiritual exploration and rebellion. Then comes an Unraveling, in which individualism triumphs over crumbling institutions. Last comes a Crisis—the Fourth Turning—when society passes through a great and perilous gate in history. William Strauss and Neil Howe will change the way you see the world—and your place in it. With blazing originality, The Fourth Turning illuminates the past, explains the present, and reimagines the future. Most remarkably, it offers an utterly persuasive prophecy about how America’s past will predict what comes next. Strauss and Howe base this vision on a provocative theory of American history. The authors look back five hundred years and uncover a distinct pattern: Modern history moves in cycles, each one lasting about the length of a long human life, each composed of four twenty-year eras—or “turnings”—that comprise history’s seasonal rhythm of growth, maturation, entropy, and rebirth. Illustrating this cycle through a brilliant analysis of the post–World War II period, The Fourth Turning offers bold predictions about how all of us can prepare, individually and collectively, for this rendezvous with destiny.

NEW YORK TIMES BESTSELLER • A stunning “portrait of the enduring grace of friendship” (NPR) about the families we are born into, and those that we make for ourselves. A masterful depiction of love in the twenty-first century. NATIONAL BOOK AWARD FINALIST • MAN BOOKER PRIZE FINALIST • WINNER OF THE KIRKUS PRIZE A Little Life follows four college classmates—broke, adrift, and buoyed only by their friendship and ambition—as they move to New York in search of fame and fortune. While their relationships, which are tinged by addiction, success, and pride, deepen over the decades, the men are held together by their devotion to the brilliant, enigmatic Jude, a man scarred by an unspeakable childhood trauma. A hymn to brotherly bonds and a masterful depiction of love in the twenty-first century, Hanya Yanagihara’s stunning novel is about the families we are born into, and those that we make for ourselves. Look for Hanya Yanagihara’s latest bestselling novel, To Paradise.

A refreshingly clearheaded and taboo-breaking look at race relations reveals that American culture is neither Black nor White nor Other, but a mix-a mongrel. Black Like You is an erudite and entertaining exploration of race relations in American popular culture. Particularly compelling is Strausbaugh's eagerness to tackle blackface-a strange, often scandalous, and now taboo entertainment. Although blackface performance came to be denounced as purely racist mockery, and shamefacedly erased from most modern accounts of American cultural history, Black Like You shows that the impact of blackface on American culture was deep and long-lasting. Its influence can be seen in rock and hiphop; in vaudeville, Broadway, and gay drag performances; in Mark Twain and "gangsta lit"; in the earliest filmstrips and the 2004 movie White Chicks; on radio and television; in advertising and product marketing; and even in the way Americans speak. Strausbaugh enlivens themes that are rarely discussed in public, let alone with such candor and vision: - American culture neither conforms to knee-jerk racism nor to knee-jerk political correctness. It is neither Black nor White nor Other, but a mix-a mongrel. - No history is best forgotten, however uncomfortable it may be to remember. The power of blackface to engender mortification and rage in Americans to this day is reason enough to examine what it tells us about our culture and ourselves. - Blackface is still alive. Its impact and descendants-including Black performers in "whiteface"-can be seen all around us today.

Some of the essays in this book - notably those concerned with examining Western influences on sub-Saharan African writings (tracing Shakespearean and Brechtian echoes in Nigerian drama, for instance, or following the footprints of Sherlock Holmes in Swahili detective fiction) - fit the traditional definition of comparative literature. These are essays that cross national literary boundaries and sometimes transcend language barriers as well. They look for correspondences in related literary phenomena from widely dispersed areas of the globe, bringing together what is akin from what is akimbo. But most of the essays included here involve closer comparisons. Two focus on works produced in different languages within the same African nation (Yoruba and English in Nigeria, Afrikaans and English in South Africa), and one presents a taxonomy of dominant literary forms in English in three East African nations. Others concentrate on the oeuvre of a single author, and on the likely future output of exiled writers who soon will be returning home. One essay contrasts discursive tendencies within the same text, and another investigates conflicting African and Western religious beliefs. A great variety of comparative methodologies is deployed here; not all of these are transnational, multilingual or pluralistic in scope. The last two groups of essays deal with matters of characterization and authorial reputation. Studies of the depiction of African Americans, politicians and women in a wide range of African literary texts are followed by an assessment of the current standing of anglophone Africa's leading authors. In entering such highly contested terrain, the comparatist approach adopted has been that of the neutral witness to early African attempts - comparatist in their own way - to define an African canon of classic texts. Authors discussed include: Ama Ata Aidoo (Ghana); Chinua Achebe, John Pepper Clark, Cyprian Ekwensi, D.O. Fagunwa, Wole Soyinka and Amos Tutuola (Nigeria); Peter Abrahams, J.M. Coetzee, Nadine Gordimer, Alex La Guma, Thomas Mofolo, Es'kia Mphahlele and Karel Schoeman (South Africa).