When the United States invaded Iraq in 2003, its message was clear: Iraq, under the control of strongman Saddam Hussein, possessed weapons of mass destruction that, if left unchecked, posed grave danger to the world. But when no WMDs were found, the United States and its allies were forced to examine the political and intelligence failures that had led to the invasion and the occupation, and the civil war that followed. One integral question has remained unsolved: Why had Saddam seemingly sacrificed his long reign in power by giving the false impression that he had hidden stocks of dangerous weapons?

The Achilles Trap masterfully untangles the people, ploys of power, and geopolitics that led to America’s disastrous war with Iraq and, for the first time, details America’s fundamental miscalculations during its decades-long relationship with Saddam Hussein. Beginning with Saddam’s rise to power in 1979 and the birth of Iraq’s secret nuclear weapons program, Steve Coll traces Saddam’s motives by way of his inner circle. He brings to life the diplomats, scientists, family members, and generals who had no choice but to defer to their leader—a leader directly responsible for the deaths of hundreds of thousands of Iraqis, as well as the torture or imprisonment of hundreds of thousands more. This was a man whose reasoning was impossible to reduce to a simple explanation, and the CIA and successive presidential administrations failed to grasp critical nuances of his paranoia, resentments, and inconsistencies—even when the stakes were incredibly high.

Calling on unpublished and underreported sources, interviews with surviving participants, and Saddam’s own transcripts and audio files, Coll pulls together an incredibly comprehensive portrait of a man who was convinced the world was out to get him and acted accordingly. A work of great historical significance, The Achilles Trap is the definitive account of how corruptions of power, lies of diplomacy, and vanity—on both sides—led to avoidable errors of statecraft, ones that would enact immeasurable human suffering and forever change the political landscape as we know it.

Many of the animals we encounter in everyday life, from pets and farm animals to the wild creatures of field and forest, have remained the same since medieval times. But the words used to name and describe them have often changed beyond recognition, starting with the Old English word for “animal” itself, deor (pronounced DAY-or). In The Deorhord, Hana Videen presents a glittering Old English bestiary of animals real and imaginary, big and small, ordinary and extraordinary—the good, the bad, and the downright baffling.

From gange-wæfran or walker-weavers (spiders) and hasu-padan or grey-cloaked ones (eagles) to heafdu swelce mona or moon-heads (historians still don’t know!), The Deorhord introduces a world both familiar and strange: where ants could be monsters and panthers could be your friends, where dog-headed men were as real as elephants, and where whales were as sneaky as wolves. The curious stories behind these words provide vivid insights into the language, literature, and lives of those who spoke Old English—the language of Beowulf—more than a thousand years ago.

A delightful journey through the weird and wonderful world of Old English, The Deorhord is a magical menagerie of new creatures and new words for the modern englisc reader to discover.

On the last day of December 2009, Kate Zambreno, then an unpublished writer, began a blog called “Frances Farmer Is My Sister,” arising from her obsession with literary modernism and her recent transplantation to Akron, Ohio, where her partner held a university job. Widely reposted, Zambreno’s blog became an outlet for her highly informed and passionate rants and melancholy portraits of the fates of the modernist “wives and mistresses,” reclaiming the traditionally pathologized biographies of Vivienne Eliot, Jane Bowles, Jean Rhys, and Zelda Fitzgerald: writers and artists themselves who served as male writers’ muses only to end their lives silenced, erased, and institutionalized. Over the course of two years, Frances Farmer Is My Sister helped create a community of writers and devised a new feminist discourse of writing in the margins and developing an alternative canon. 

In Heroines, Zambreno extends the polemic begun on her blog into a dazzling, original work of literary scholarship. Combing theories that have dictated what literature should be and who is allowed to write it—she traces the genesis of a cultural template that consistently exiles feminine experience to the realm of the “minor,” and diagnoses women for transgressing social bounds. “ANXIETY: When she experiences it, it’s pathological,” writes Zambreno. “When he does, it’s existential.” With Heroines, Zambreno provided a model for a newly subjectivized criticism, prefiguring many group biographies and forms of autotheory and hybrid memoirs that were to come in the years to follow. A book that has become its own canon, Heroines was named one of the “50 Books that define the past 5 Years in Literature” by Flavorwire, an “Essential Feminist Manifesto” by Dazed, and one of the “50 Greatest Books by Women” in Buzzfeed.