WINNER OF THE HILLMAN PRIZE FOR BOOK JOURNALISM, THE HELEN BERNSTEIN BOOK AWARD, AND THE LUKAS WORK-IN-PROGRESS AWARD * A NEW YORK TIMES TOP 10 BOOKS OF THE YEAR * NATIONAL BOOK CRITICS CIRCLE AWARD FINALIST * LOS ANGELES TIMES BOOK PRIZE FINALIST * ABA SILVER GAVEL AWARD FINALIST * KIRKUS PRIZE FINALIST NAMED ONE OF THE BEST BOOKS OF 2019 BY: Esquire, Amazon, Kirkus, Library Journal, Publishers Weekly, BookPage, BookRiot, Economist, New York Times Staff Critics “A seminal and breathtaking account of why home is the most dangerous place to be a woman . . . A tour de force.” -Eve Ensler "Terrifying, courageous reportage from our internal war zone." -Andrew Solomon "Extraordinary." -New York Times ,“Editors' Choice” “Gut-wrenching, required reading.” -Esquire "Compulsively readable . . . It will save lives." -Washington Post “Essential, devastating reading.” -Cheryl Strayed, New York Times Book Review An award-winning journalist's intimate investigation of the true scope of domestic violence, revealing how the roots of America's most pressing social crises are buried in abuse that happens behind closed doors. We call it domestic violence. We call it private violence. Sometimes we call it intimate terrorism. But whatever we call it, we generally do not believe it has anything at all to do with us, despite the World Health Organization deeming it a “global epidemic.” In America, domestic violence accounts for 15 percent of all violent crime, and yet it remains locked in silence, even as its tendrils reach unseen into so many of our most pressing national issues, from our economy to our education system, from mass shootings to mass incarceration to #MeToo. We still have not taken the true measure of this problem. In No Visible Bruises, journalist Rachel Louise Snyder gives context for what we don't know we're seeing. She frames this urgent and immersive account of the scale of domestic violence in our country around key stories that explode the common myths-that if things were bad enough, victims would just leave; that a violent person cannot become nonviolent; that shelter is an adequate response; and most insidiously that violence inside the home is a private matter, sealed from the public sphere and disconnected from other forms of violence. Through the stories of victims, perpetrators, law enforcement, and reform movements from across the country, Snyder explores the real roots of private violence, its far-reaching consequences for society, and what it will take to truly address it.

“A fascinating chronicle of the $55-billion-a-year global denim industry.” —David Futrelle, Los Angeles Times Rachel Louise Snyder reports from the far reaches of the multi-billion-dollar denim industry in search of the people who make your clothes. From a cotton picker in Azerbaijan to a Cambodian seamstress, a denim maker in Italy to a fashion designer in New York, Snyder captures the human, environmental, and political forces at work in a complex and often absurd world. Neither polemic nor prescription, Fugitive Denim captures what it means to work in the twenty-first century.

These days, hot chicken is a “must-try” Southern food. Restaurants in New York, Detroit, Cambridge, and even Australia advertise that they fry their chicken “Nashville-style.” Thousands of people attend the Music City Hot Chicken Festival each year. The James Beard Foundation has given Prince’s Chicken Shack an American Classic Award for inventing the dish. But for almost seventy years, hot chicken was made and sold primarily in Nashville’s Black neighborhoods—and the story of hot chicken says something powerful about race relations in Nashville, especially as the city tries to figure out what it will be in the future. Hot, Hot Chicken recounts the history of Nashville’s Black communities through the story of its hot chicken scene from the Civil War, when Nashville became a segregated city, through the tornado that ripped through North Nashville in March 2020.

In her “keenly observed” (Star Tribune, Minneapolis) debut, Rachel Louise Snyder, author of the memoir Women We Buried, Women We Burned and the award-winning No Visible Bruises, chronicles the twenty-four hours following a mass burglary in a Chicago suburb and the suspicions, secrets, and prejudices that surface in its wake. Nestled on the edge of Chicago’s gritty west side, Oak Park is a suburb in flux. To the west, theaters and shops frame posh houses designed by Frank Lloyd Wright. To the east lies a neighborhood still recovering from urban decline. In the center of the community sits Ilios Lane, a pristine cul-de-sac dotted with quiet homes that bridge the surrounding extremes of wealth and poverty. On the first warm day in April, Mary Elizabeth McPherson, a lifelong resident of Ilios Lane, skips school with her friend Sofia. As the two experiment with a heavy dose of ecstasy in Mary Elizabeth’s dining room, a series of home invasions rocks their neighborhood. At first the community is determined to band together, but rising suspicions soon threaten to destroy the world they were attempting to create. Filtered through a vibrant pinwheel of characters, Snyder’s tour de force evokes the heightened tension of a community on edge as it builds towards an explosive conclusion. Incisive and panoramic, What We’ve Lost Is Nothing illuminates the evolving relationship between American cities and their suburbs, the hidden prejudices that can threaten a way of life, and the redemptive power of tolerance in a community torn asunder. “Ideas abound in this thoughtful story, a demonstration of the author’s years of experience as a community organizer. What We’ve Lost Is Nothing has the stamp of authenticity” (The Washington Post).

Americans are generally apprehensive about what they perceive as big government—especially when it comes to measures that target their bodies. Soda taxes, trans fat bans, and calorie counts on menus have all proven deeply controversial. Such interventions, Rachel Louise Moran argues, are merely the latest in a long, albeit often quiet, history of policy motivated by economic, military, and familial concerns. In Governing Bodies, Moran traces the tension between the intimate terrain of the individual citizen's body and the public ways in which the federal government has sought to shape the American physique over the course of the twentieth century. Distinguishing her subject from more explicit and aggressive government intrusion into the areas of sexuality and reproduction, Moran offers the concept of the "advisory state"—the use of government research, publicity, and advocacy aimed at achieving citizen support and voluntary participation to realize social goals. Instituted through outside agencies and glossy pamphlets as well as legislation, the advisory state is government out of sight yet intimately present in the lives of citizens. The activities of such groups as the Civilian Conservation Corps, the Children's Bureau, the President's Council on Physical Fitness, and the Special Supplemental Nutrition Program for Women, Infants, and Children (WIC) implement federal body projects in subtle ways that serve to mask governmental interference in personal decisions about diet and exercise. From advice-giving to height-weight standards to mandatory nutrition education, these tactics not only empower and conceal the advisory state but also maintain the illusion of public and private boundaries, even as they become blurred in practice. Weaving together histories of the body, public policy, and social welfare, Moran analyzes a series of discrete episodes to chronicle the federal government's efforts to shape the physique of its citizenry. Governing Bodies sheds light on our present anxieties over the proper boundaries of state power.

National Book Critics Circle Award Winner. “With dazzling clarity, [Chocano’s] commentary exposes the subliminal sexism on our pages and screens.”—O, The Oprah Magazine As a kid in the 1970s and 80s, Carina Chocano was confused by the mixed messages all around her that told her who she could be—and who she couldn’t. She grappled with sexed up sidekicks, princesses waiting to be saved, and morally infallible angels who seemed to have no opinions of their own. It wasn’t until she spent five years as a movie critic, and was laid off just after her daughter was born, however, that she really came to understand how the stories the culture tells us about what it means to be a girl limit our lives and shape our destinies. In You Play the Girl, Chocano blends formative personal stories with insightful and emotionally powerful analysis. Moving from Bugs Bunny to Playboy Bunnies, from Flashdance to Frozen, from the progressive ’70s through the backlash ’80s, the glib ’90s, and the pornified aughts—and at stops in between—she explains how growing up in the shadow of “the girl” taught her to think about herself and the world and what it means to raise a daughter in the face of these contorted reflections. In the tradition of Roxane Gay, Rebecca Solnit, and Susan Sontag, Chocano brilliantly shows that our identities are more fluid than we think, and certainly more complex than anything we see on any kind of screen. “If Hollywood’s treatment of women leaves you wanting, you’ll find good, heady company in You Play the Girl.”—Elle

Something deadly blooms in this brilliantly dark and moving domestic thriller from the author of Doctor Glass and Rosie Shadow. When Rachel and her husband Adam move to Maple Cottage in remote Cheshire, it should be the fulfillment of their dream to start a family. Haunted by her past and challenged by events around her, Rachel finds that her home is not the sanctuary she envisaged—and neither is her marriage. Adam’s temper rages when he discovers he is infertile. She seeks solace in the arms of her gardener and falls pregnant. Dreams become reality—and a garden grows, but as every gardener knows, even the most beautiful plants can be poisonous. Can Rachel find the happiness she craves, or will the toxic past take root and lead her down a dark path? Praise for Doctor Glass “A gripping and disturbing story with well-developed characters and a mind-blowing plot.” —The Eclectic Review “A captivating read, full of menace and tension from the very start.” —Booky Charm