A Fortune For Your Disaster

“When an author’s unmitigated brilliance shows up on every page, it’s tempting to skip a description and just say, Read this! Such is the case with this breathlessly powerful, deceptively breezy book of poetry.” —Booklist, Starred Review In his much-anticipated follow-up to The Crown Ain't Worth Much, poet, essayist, biographer, and music critic Hanif Abdurraqib has written a book of poems about how one rebuilds oneself after a heartbreak, the kind that renders them a different version of themselves than the one they knew. It's a book about a mother's death, and admitting that Michael Jordan pushed off, about forgiveness, and how none of the author's black friends wanted to listen to "Don't Stop Believin'." It's about wrestling with histories, personal and shared. Abdurraqib uses touchstones from the world outside—from Marvin Gaye to Nikola Tesla to his neighbor's dogs—to create a mirror, inside of which every angle presents a new possibility.

“When an author’s unmitigated brilliance shows up on every page, it’s tempting to skip a description and just say, Read this! Such is the case with this breathlessly powerful, deceptively breezy book of poetry.” —Booklist, Starred Review In his much-anticipated follow-up to The Crown Ain't Worth Much, poet, essayist, biographer, and music critic Hanif Abdurraqib has written a book of poems about how one rebuilds oneself after a heartbreak, the kind that renders them a different version of themselves than the one they knew. It's a book about a mother's death, and admitting that Michael Jordan pushed off, about forgiveness, and how none of the author's black friends wanted to listen to "Don't Stop Believin'." It's about wrestling with histories, personal and shared. Abdurraqib uses touchstones from the world outside—from Marvin Gaye to Nikola Tesla to his neighbor's dogs—to create a mirror, inside of which every angle presents a new possibility.

The Crown Ain't Worth Much, Hanif Willis-Abdurraqib's first full-length collection, is a sharp and vulnerable portrayal of city life in the United States. A regular columnist for MTV.com, Abdurraqib brings his interest in pop culture to these poems, analyzing race, gender, family, and the love that finally holds us together even as it threatens to break us. Terrance Hayes writes that Abdurraqib "bridges the bravado and bling of praise with the blood and tears of elegy." The poems in this collection are challenging and accessible at once, as they seek to render real human voices in moments of tragedy and celebration.

A New York Times Best Seller A February IndieNext Pick Named A Most Anticipated Book of 2019 by Buzzfeed, Nylon, The A. V. Club, CBC Books, and The Rumpus. And a Winter's Most Anticipated Book by Vanity Fair and The Week Starred Reviews: Kirkus and Booklist "Warm, immediate and intensely personal."—New York Times How does one pay homage to A Tribe Called Quest? The seminal rap group brought jazz into the genre, resurrecting timeless rhythms to create masterpieces such as The Low End Theory and Midnight Marauders. Seventeen years after their last album, they resurrected themselves with an intense, socially conscious record, We Got It from Here . . . Thank You 4 Your Service, which arrived when fans needed it most, in the aftermath of the 2016 election. Poet and essayist Hanif Abdurraqib digs into the group’s history and draws from his own experience to reflect on how its distinctive sound resonated among fans like himself. The result is as ambitious and genre-bending as the rap group itself. Abdurraqib traces the Tribe's creative career, from their early days as part of the Afrocentric rap collective known as the Native Tongues, through their first three classic albums, to their eventual breakup and long hiatus. Their work is placed in the context of the broader rap landscape of the 1990s, one upended by sampling laws that forced a reinvention in production methods, the East Coast–West Coast rivalry that threatened to destroy the genre, and some record labels’ shift from focusing on groups to individual MCs. Throughout the narrative Abdurraqib connects the music and cultural history to their street-level impact. Whether he’s remembering The Source magazine cover announcing the Tribe’s 1998 breakup or writing personal letters to the group after bandmate Phife Dawg’s death, Abdurraqib seeks the deeper truths of A Tribe Called Quest; truths that—like the low end, the bass—are not simply heard in the head, but felt in the chest.

Presents a humorous ode to cinematic hubris, discussing the story of the mysteriously wealthy misfit, Tommy Wiseau, the producer, director, and star of the "The Room," which later became an international cult film despite making no money at the box office.

* 2018 "12 best books to give this holiday season" —TODAY (Elizabeth Acevedo) * A "Best Book of 2017" —Rolling Stone (2018), NPR, Buzzfeed, Paste Magazine, Esquire, Chicago Tribune, Vol. 1 Brooklyn, CBC, Stereogum, National Post, Entropy, Heavy, Book Riot, Chicago Review of Books, The Los Angeles Review, Michigan Daily * American Booksellers Association (ABA) 'December 2017 Indie Next List Great Reads' * Midwest Indie Bestseller In an age of confusion, fear, and loss, Hanif Abdurraqib's is a voice that matters. Whether he's attending a Bruce Springsteen concert the day after visiting Michael Brown's grave, or discussing public displays of affection at a Carly Rae Jepsen show, he writes with a poignancy and magnetism that resonates profoundly. In the wake of the nightclub attacks in Paris, he recalls how he sought refuge as a teenager in music, at shows, and wonders whether the next generation of young Muslims will not be afforded that opportunity now. While discussing the everyday threat to the lives of Black Americans, Abdurraqib recounts the first time he was ordered to the ground by police officers: for attempting to enter his own car. In essays that have been published by the New York Times, MTV, and Pitchfork, among others—along with original, previously unreleased essays—Abdurraqib uses music and culture as a lens through which to view our world, so that we might better understand ourselves, and in so doing proves himself a bellwether for our times.

Love is real in the town of Grimbaud and Fallon Dupree has dreamed of attending high school there for years. After all, generations of Dupree's have successfully followed the (100% accurate!) love fortunes from Zita's famous Love Charms Shop to happily marry their high school sweethearts. It's a tradition. So she is both stunned and devastated when her fortune states that she will NEVER find love. Fortunately, Fallon isn't the only student with a terrible love fortune, and a rebellion is brewing. Fallon is determined to take control of her own fate—even if it means working with a notorious heartbreaker like Sebastian. Will Fallon and Sebastian be able to overthrow Zita's tyranny and fall in love?

Disaster has become big business. Best-selling journalist Antony Loewenstein travels across Afghanistan, Pakistan, Haiti, Papua New Guinea, the United States, Britain, Greece, and Australia to witness the reality of disaster capitalism. He discovers how companies cash in on organized misery in a hidden world of privatized detention centers, militarized private security, aid profiteering, and destructive mining. What emerges through Loewenstein's reporting is a dark history of multinational corporations that, with the aid of media and political elites, have grown more powerful than national governments. In the twenty-first century, the vulnerable have become the world's most valuable commodity.