An award-winning biologist and writer applies queer feminist theory to developmental genetics, arguing that individuals are not essentially male or female. The idea that gender is a performance—a tenet of queer feminist theory since the nineties—has spread from college classrooms to popular culture. This transformative concept has sparked reappraisals of social expectations as well as debate over not just gender, but sex: what it is, what it means, and how we know it. Most scientific and biomedical research over the past seventy years has assumed and reinforced a binary concept of biological sex, though some scientists point out that male and female are just two outcomes in a world rich in sexual diversity. In Performance All the Way Down, MacArthur Fellow and Pulitzer Prize finalist Richard O. Prum brings feminist thought into conversation with biology, arguing that the sexual binary is not essential to human genes, chromosomes, or embryos. Our genomes are not blueprints, algorithms, or recipes for the physical representation of our individual sexual essences or fates. In accessible language, Prum shows that when we look closely at the science, we see that gene expression is a material action in the world, a performance through which the individual regulates and achieves its own becoming. A fertilized zygote matures into an organism with tissues and organs, neurological control, immune defenses, psychological mechanisms, and gender and sexual behavior through a performative continuum. This complex hierarchy of self-enactment reflects the evolved agency of individual genes, molecules, cells, and tissues. Rejecting the notion of an intractable divide between the humanities and the sciences, Prum proves that the contributions of queer and feminist theorists can help scientists understand the human body in new ways, yielding key insights into genetics, developmental biology, physiology. Sure to inspire discussion, Performance All the Way Down is a book about biology for feminists, a book about feminist theory for biologists, and a book for anyone curious about how our sexual bodies grow.

A FINALIST FOR THE PULITZER PRIZE NAMED A BEST BOOK OF THE YEAR BY THE NEW YORK TIMES BOOK REVIEW, SMITHSONIAN, AND WALL STREET JOURNAL A major reimagining of how evolutionary forces work, revealing how mating preferences—what Darwin termed "the taste for the beautiful"—create the extraordinary range of ornament in the animal world. In the great halls of science, dogma holds that Darwin's theory of natural selection explains every branch on the tree of life: which species thrive, which wither away to extinction, and what features each evolves. But can adaptation by natural selection really account for everything we see in nature? Yale University ornithologist Richard Prum—reviving Darwin's own views—thinks not. Deep in tropical jungles around the world are birds with a dizzying array of appearances and mating displays: Club-winged Manakins who sing with their wings, Great Argus Pheasants who dazzle prospective mates with a four-foot-wide cone of feathers covered in golden 3D spheres, Red-capped Manakins who moonwalk. In thirty years of fieldwork, Prum has seen numerous display traits that seem disconnected from, if not outright contrary to, selection for individual survival. To explain this, he dusts off Darwin's long-neglected theory of sexual selection in which the act of choosing a mate for purely aesthetic reasons—for the mere pleasure of it—is an independent engine of evolutionary change. Mate choice can drive ornamental traits from the constraints of adaptive evolution, allowing them to grow ever more elaborate. It also sets the stakes for sexual conflict, in which the sexual autonomy of the female evolves in response to male sexual control. Most crucially, this framework provides important insights into the evolution of human sexuality, particularly the ways in which female preferences have changed male bodies, and even maleness itself, through evolutionary time. The Evolution of Beauty presents a unique scientific vision for how nature's splendor contributes to a more complete understanding of evolution and of ourselves.

Includes section "Book reviews".

“An intense snapshot of the chain reaction caused by pulling a trigger.” —Booklist (starred review) “Astonishing.” —Kirkus Reviews (starred review) “A tour de force.” —Publishers Weekly (starred review) A Newbery Honor Book A Coretta Scott King Honor Book A Printz Honor Book A Time Best YA Book of All Time (2021) A Los Angeles Times Book Prize Winner for Young Adult Literature Longlisted for the National Book Award for Young People’s Literature Winner of the Walter Dean Myers Award An Edgar Award Winner for Best Young Adult Fiction Parents’ Choice Gold Award Winner An Entertainment Weekly Best YA Book of 2017 A Vulture Best YA Book of 2017 A Buzzfeed Best YA Book of 2017 An ode to Put the Damn Guns Down, this is New York Times bestselling author Jason Reynolds’s electrifying novel that takes place in sixty potent seconds—the time it takes a kid to decide whether or not he’s going to murder the guy who killed his brother. A cannon. A strap. A piece. A biscuit. A burner. A heater. A chopper. A gat. A hammer A tool for RULE Or, you can call it a gun. That’s what fifteen-year-old Will has shoved in the back waistband of his jeans. See, his brother Shawn was just murdered. And Will knows the rules. No crying. No snitching. Revenge. That’s where Will’s now heading, with that gun shoved in the back waistband of his jeans, the gun that was his brother’s gun. He gets on the elevator, seventh floor, stoked. He knows who he’s after. Or does he? As the elevator stops on the sixth floor, on comes Buck. Buck, Will finds out, is who gave Shawn the gun before Will took the gun. Buck tells Will to check that the gun is even loaded. And that’s when Will sees that one bullet is missing. And the only one who could have fired Shawn’s gun was Shawn. Huh. Will didn’t know that Shawn had ever actually USED his gun. Bigger huh. BUCK IS DEAD. But Buck’s in the elevator? Just as Will’s trying to think this through, the door to the next floor opens. A teenage girl gets on, waves away the smoke from Dead Buck’s cigarette. Will doesn’t know her, but she knew him. Knew. When they were eight. And stray bullets had cut through the playground, and Will had tried to cover her, but she was hit anyway, and so what she wants to know, on that fifth floor elevator stop, is, what if Will, Will with the gun shoved in the back waistband of his jeans, MISSES. And so it goes, the whole long way down, as the elevator stops on each floor, and at each stop someone connected to his brother gets on to give Will a piece to a bigger story than the one he thinks he knows. A story that might never know an END…if Will gets off that elevator. Told in short, fierce staccato narrative verse, Long Way Down is a fast and furious, dazzlingly brilliant look at teenage gun violence, as could only be told by Jason Reynolds.

THE INSTANT #1 BESTSELLER! FEATURED ON 60 MINUTES and FRESH AIR “So surprising and moving and true that I became completely unstrung.” – The New York Times Named a best book of the year by: The New York Times, NPR, TIME, Wall Street Journal, Boston Globe, Entertainment Weekly, Southern Living, Publishers Weekly, BookPage, A.V. Club, Bustle, BuzzFeed, Vulture, and many more! JOHN GREEN, the acclaimed author of Looking for Alaska and The Fault in Our Stars, returns with a story of shattering, unflinching clarity in this brilliant novel of love, resilience, and the power of lifelong friendship. Aza Holmes never intended to pursue the disappearance of fugitive billionaire Russell Pickett, but there’s a hundred-thousand-dollar reward at stake and her Best and Most Fearless Friend, Daisy, is eager to investigate. So together, they navigate the short distance and broad divides that separate them from Pickett’s son Davis. Aza is trying. She is trying to be a good daughter, a good friend, a good student, and maybe even a good detective, while also living within the ever-tightening spiral of her own thoughts.