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Beverly Underwood and her arch enemy, Lula Dean, live in the tiny town of Troy, Georgia, where they were born and raised. Now Beverly is on the school board, and Lula has become a local celebrity by embarking on mission to rid the public libraries of all inappropriate books—none of which she’s actually read. To replace the “pornographic” books she’s challenged at the local public library, Lula starts her own lending library in front of her home: a cute wooden hutch with glass doors and neat rows of the worthy literature that she’s sure the town’s readers need.

When the enslaved Jim overhears that he is about to be sold to a man in New Orleans, separated from his wife and daughter forever, he decides to hide on nearby Jackson Island until he can formulate a plan. Meanwhile, Huck Finn has faked his own death to escape his violent father, recently returned to town. As all readers of American literature know, thus begins the dangerous and transcendent journey by raft down the Mississippi River toward the elusive and too-often-unreliable promise of the Free States and beyond.

In 2014, Maia Kobabe, who uses e/em/eir pronouns, thought that a comic of reading statistics would be the last autobiographical comic e would ever write. At the time, it was the only thing e felt comfortable with strangers knowing about em. Now, Gender Queer is here. Maia’s intensely cathartic autobiography charts eir journey of self-identity, which includes the mortification and confusion of adolescent crushes, grappling with how to come out to family and society, bonding with friends over erotic gay fanfiction, and facing the trauma and fundamental violation of pap smears.

Growing up in rural Oregon, Brandon Wolf grappled with the devastating loss of his supportive mother and with the embedded racism and homophobia of a community that made him feel like an unwelcome stranger. After the lack of connection and role models led him down a spiral of risky behavior, Wolf escaped to survive. In Orlando, he found what he’d been searching for: belonging—in a community that was a safe space with people he’d come to call his chosen family.

Ruth Jefferson is a labor and delivery nurse at a Connecticut hospital with more than 20 years’ experience. During her shift, Ruth begins a routine checkup on a newborn, only to be told a few minutes later that she’s been reassigned to another patient. The parents are white supremacists and don’t want Ruth, who is African American, to touch their child. The hospital complies with their request, but the next day, the baby goes into cardiac distress while Ruth is alone in the nursery. Does she obey orders or does she intervene?

Hey you guys, it’s Leslie. I’m excited to share my story with you. Now, I’m gonna be honest: Some of the details might be vague because a b*tch is fifty-five and she’s smoked a ton of weed. But while bits might be a touch hazy, I can promise you the underlying truth is REAL.

Inspired by her research for the hit podcast Ultra, Rachel Maddow charts the rise of a wild American strain of authoritarianism that has been alive on the far-right edge of our politics for the better part of a century. Before and even after our troops had begun fighting abroad in World War II, a clandestine network flooded the country with disinformation aimed at sapping the strength of the U.S. war effort and persuading Americans that our natural alliance was with the Axis, not against it.

Jennette McCurdy was six years old when she had her first acting audition. Her mother’s dream was for her only daughter to become a star, and Jennette would do anything to make her mother happy. So she went along with what Mom called “calorie restriction." She endured extensive at-home makeovers while Mom chided, “Your eyelashes are invisible, okay? You think Dakota Fanning doesn’t tint hers?” She was even showered by Mom until age sixteen while sharing her diaries, email, and all her income. In I’m Glad My Mom Died, Jennette recounts all this in unflinching detail.