Where the heck did January go? Who cares, it’s February, and there are a ton of exciting books coming out. It’s looking like a great month for fantasy, which is perfect to escape into when it’s cold and still a bit dreary outside. I’m personally already looking forward to National Discount Chocolate Day on February 15, which will provide me with eat-while-reading treats for many months to come. May the odds be ever in all of our favor when it comes to the candy shelves.

Here’s just a selection of what’s coming at us over the four glorious Tuesdays of February. It’s nine books out of the many that are being published, so please don’t mistake this as an exhaustive of all-inclusive list. It’s mostly fantasy with a sprinkling of sci-fi, and there’s romance, there’s darkness and horror, there are retellings and reimaginings of classic stories, and, best of all, at the end of the month there are pirates. I’ve also got you a mix of sequels, standalones, and new series starters. Hopefully there’s something on this list for everyone to love!

As always, you can find a full list of new releases in the magical New Release Index, carefully curated by your favorite Book Riot editors, organized by genre and release date.

As I write this, January is drawing to a close. I cannot believe that we are already one month into 2023. But whether I like it or not, time happens, and once again, the season of love is upon us. Though I never really celebrated Valentine’s Day in any significant way, irrespective of whether I was single or paired up, I have always loved the explosion of cute DIY literary Valentine’s Day crafts for kids and other projects on my Pinterest home page around this time. We crafters love a good theme, and love, hearts, and flowers are about as delightfully theme-y as it can get.

Valentine’s Day is also a perfect occasion to share your love of DIY with the kids in your life – be it in the classroom or at home. Crafting is a wonderful way to keep kids engaged and occupied, while teaching them a thing or two about recycling some of the material that they may have lying around in playrooms and classrooms. Add a literary twist to your Valentine’s Day crafting plans, and you are sure to win the approval of the bookish kids in your life. Here we have collected a list of some literary Valentine’s Day crafts for kids to get you started.

The romance genre, especially steamy enemies-to-lovers books, is a vast and steamy place, full of communication shenanigans, tissue-paper bodices, flowing locks of all colors that belong to all genders, and a disproportionate number of English dukes, people with piercing eyes and the ability to raise one sardonic eyebrow. One of the major reasons readers flock to romance is the steam factor. It is a place where readers can experience the joys and heartaches of any relationship arrangement without consequence to our hearts (or our joints, given the variety of possible…er…configurations).

Speaking of configurations, romance readers are statistically around 86% women. And while most readers discover the romance genre between ages 11 and 17 (no surprise there, given puberty, preteen, and teen curiosity around relationships and sex), the average romance reader is ~37 years old, heterosexual (82%), female, and white (86%), according to the Romance Writers Association. That is all to say, this is not a widely diverse readership, but as the genre embraces more diverse expressions of race, gender, and sexuality, I expect those numbers will shift.

More diversity in authorship and characters can only lead to more diverse ways to make us blush in public. With diversity in mind, I’ve done my best to include many different types of steamy enemies to lovers books — including a yaoi manga — to expand your steamy horizons.

February 10 is author E.L. Konigsburg’s birthday, and while most people are familiar with her classic children’s book From the Mixed-Up Files of Mrs. Basil E. Frankweiler, she wrote more than 20 books, including picture books. Born to two Jewish immigrants, Konigsburg grew up in small towns in Pennsylvania. She was valedictorian of her high school class, majored in chemistry at Carnegie Mellon, and was the first person in her family to earn a college degree.

Konigsburg started writing in the mornings after her third child went to school. In 1968, she won the Newbery Medal for Mixed-Up Files, and was also awarded a Newbery Honor for her book Jennifer, Hecate, Macbeth, William McKinley, and Me, Elizabeth. She is the only author to be awarded both in the same year. Almost 30 years later, in 1997, she won the Newbery again for her novel The View From Saturday.

In 2006, she was a U.S. nominee for the Hans Christian Andersen award, for her contributions to children’s literature. She died in 2013 at the age of 83, from complications of a stroke that she had the week before.

Konigsburg tackled many topics that other authors might not have touched in children’s literature more than 30 or 40 years ago: antisemitism, racism, classism (About the B’nai Bagels), pornography (also B’nai Bagels), mental health (George), and diversity — many of her books have racially diverse characters or disabled characters — to name a few. Was this always handled the way we would expect it to be handled now? Of course not, because these books were written decades ago and our language and use of language has changed and evolved, as it should constantly be doing. I have cringed when reading some of her writing. But there are also some amazing scenes where characters point out the explicit racism or ableism of other characters, and where mothers don’t hesitate to dress down their entitled, sexist sons and husbands. Keeping the time period when these were written in mind when I reread (and read for the first time) many of her books, it felt a bit groundbreaking to me.

In that respect, while I absolutely love Mixed-Up Files, I think it’s a shame that more of her work isn’t mentioned or taught. Other books of hers are much more diverse and layered, diving into some pretty deep topics.

This week, the Review is publishing a series of short reflections on love songs, broadly defined. 

Someone once accused me of being unrealistic about love’s aftermath. This was in the middle of an interminable argument, one in a long series of interminable arguments. I am not really someone prone to interminable arguments, which probably should have told me something about this person and myself sooner than it did, but at the time I was experiencing a new experience and not every aspect of it was entirely unpleasant. What he said was something like this: “You think there are never any consequences! You think you can go around hurting people, and that everyone you hurt will still want to be in the same room as you, having a drink!” I thought about this for a second. It wasn’t true but it wasn’t not true either. Then I said something stupid, which was, “Do you know the Bob Dylan song ‘Mississippi’?”

Is “Mississippi” a love song? Yes and no. I think it is among the most romantic songs ever written and also among the most ambiguous, which are not disconnected qualities. It is not even clearly about a romantic relationship—some people hear it as a sociopolitical song about the state of America, which isn’t wrong. It might be about a guy who has literally stayed in Mississippi a day too long. Yet it contains, I think, every important kernel of wisdom about love and the loss of it; it hits every note that matters. Is that too much to believe about a single song? “Mississippi”—and I am talking about the Love and Theft version, the heart likes what it likes—is about the love that outlasts love. I think often of the line: “I’ve got nothing but affection for all those who’ve sailed with me.” And I think, Yes, that’s how I feel! This is true!

Of course, it isn’t true. It isn’t any more true for me than it is for anyone who harbors their own bitternesses toward me. I have plenty of things besides affection—wells of pain, streaks of anger, pain and anger about things so long past you would think they would have disappeared rather than calcified. And yet when I hear that line I think about everyone I have ever loved and everyone who has ever loved me—I think of us on a boat together, maybe drinking martinis. But it’s almost like we are ghosts, like the dead children in the final book of The Chronicles of Narnia, because I know this is a wild, impossible fantasy of the past and the present colliding. Still, it’s beautiful and in its own way even comforting.

It’s easy to feel happy for a friend who has suddenly, and seemingly irrevocably, fallen in love. It’s just as easy to wonder, privately, if they might, one day, fall out of it. Love stories, like rhymes, are initially generative. Both begin with the promise of infinite possibility: the couple—and the couplet—could go anywhere! But anywhere always winds up being somewhere, and that somewhere is very often a dead end. 

Couplets, Maggie Millner’s rhapsodic debut, is officially described as a novel in verse, but the poems that comprise it buck constantly against their generic container. Some are in prose, others are in rhyme and meter, and all are spoken by a young woman straddling two relationships and a shifting sense of self. Affair narratives are all about reversed chronologies: they end where love begins. But when the speaker leaves her long-term boyfriend for a first-time girlfriend, her timelines get all mixed up: she becomes a “conduit / between them: a conversation they conducted / with my mouth.” 

Couplets is preoccupied by triangulations. The speaker is intensely jealous of her new girlfriend’s other girlfriend, a novelist who every other weekend also has a “tryst” with a married hedge fund manager and his lover, who is a novelist, too. When he ejaculates into one of the novelists, the other pretends that she is a voyeur, peering in on her competitor, the hedge fund manager’s wife. Meanwhile, the protagonist, a poet, finds that her own love triangle produces shifting meaning. She and her lovers are bound together, but she can’t seem to harness them. “Our own story made no sense / to me and twisted up whenever I tried / writing it.” 

At the end of January, Maggie and I spoke over Zoom about the language that attends love and the desires that animate the life of any writer, who will always find herself, no matter the genre, struggling between the impulse to act and the compulsion to self-analyze.

This one time, my dad bought me a house in Providence, Rhode Island. It was a two-story fake Colonial with yellow aluminum siding on Hawkins Street. We bought it from the bank for $55,000; it was one of many properties under foreclosure in the city in 2009. Dad and I had spent a few days driving around and looking at these houses. In one driveway, I found a dirty playing card depicting the biggest penis I could ever imagine—I still have it. In one basement, the realtor had to disclose, the former owner had tied his girlfriend’s lover to a chair, tortured him, and then shot him in the head.

The man who had lived in my house on Hawkins Street had owed more on the house than it was worth. It was in an undesirable part of town, or so I was told, but I loved the neighborhood. The houses were small. There was a permanent lemon icee stand a block away. I was about twenty steps away from a bodega that functioned as the neighborhood grocery store. My next door neighbor was an elderly lady from Portugal who spoke almost no English and yet complained to me about all the dogshit in my backyard while bragging about the tomatoes in her garden, which looked exactly like her breasts beneath her housedress, heavy and sliding. We were separated by a chainlink fence.

The layout of the house was nothing special. When you walked through the front door, you could go up the staircase on the left. Or you could walk straight down the hall, past the small living room, to the kitchen, and from the kitchen you could take a u-turn and step down to the side-door to the driveway, or continue on down to the basement. I had never had a house of my own. When we signed the papers, I felt myself moving into a new phase of my life, a rite of passage with my father in the chair next to me. It was a beautiful and slightly terrifying experience I know I was very lucky to have, and I loved the house, I loved the light and the intimacy of the rooms, and I loved writing in that house. I wrote McGlue in that house. But more than anything, I loved that house because Dad and I renovated it together. Every day for months, he drove down from Massachusetts with his tools. We’d work all morning sanding and painting, breaking down walls, laying tile, whatever, then go have foot-long Subway sandwiches at the Walmart, hit the Home Depot, and go back to work until it was dark and the rush hour traffic had died down. This was the most time I had ever spent with Dad. It was fun and emotional and felt like the fulfillment of a childhood fantasy.

The biggest issue that needed to be addressed—the thing that made the house unlivable—was the nicotine. I don’t mean that the place smelled of cigarette smoke or old cigarettes or ash or the butts stubbed out on the greasy parquet floor. I mean that there was nicotine syrup soaked into the walls. Have you ever smoked a cigarette in a small room in Providence in the summer, in the still of the night? Cigarette smoke is distilled in the lungs, and upon exhalation, the nicotine adheres to the moisture in the environment, the droplets land, the nicotine is absorbed, and the poison never leaves. The interior of the house had a layer of nicotine varnish that made everything sepia and gross. You cannot scrub this stuff off anything except, maybe, stainless steel. So Dad and I had to rip out all the walls.

For most of my life, I took quiet to mean a kind of shortcoming. I had heard it used too many times as a description of how others saw me. But then I realized that in the work of writers I love deeply are many kinds of quiets—those of catharsis, of subversiveness, of gaping loss or simple, sensual joy. I came to think of quiet not as an adjective or verb or noun, but as a kind of technique.

The books I chose for the syllabus below expand how we think about black expression, intimacy, interiority, and agency; about black quietude. I began with the work of Kevin Quashie, whose voice, like a tuning fork, set a tone for my reading of other books. For the nonfiction books on this list, I looked for thinkers who are deeply attentive to the everyday. For fiction and poetry, I selected writers who allow us to glimpse more clearly our own selfhoods via the unknowability of others. In all cases, these are books that are richer for asking us to listen more deeply. We might return from each one dazzled, dazed even, but always with renewed, sharpened perception.

Kevin Quashie, The Sovereignty of Quiet: Beyond Resistance in Black Culture

Elizabeth Alexander, The Black Interior

Toni Morrison, Sula

Over the past year I have read and reread Angelica Nuzzo’s book Approaching Hegel’s Logic, Obliquely, in which Nuzzo guides the reader through Hegel’s Science of Logic. Nuzzo presents the question of how we are to think about history as it unfolds amid chaos and relentless crises. How, in other words, are we to find a means to think outside the incessant whirr of our times? The answer she provides is one I find wholly satisfactory: it is through the work of Hegel that we are best able to think about and think through the current state of the world, precisely because his work is itself an exploration of thinking—particularly Science of Logic, as Nuzzo eloquently explains:

Hegel’s dialectic-speculative logic is the only one that aims at—and succeeds in—accounting for the dynamic of real processes: natural, psychological but also social, political, and historical processes. It is a logic that attempts to think of change and transformation in their dynamic flux not by fixating movement in abstract static descriptions but by performing movement itself. 

By tracking the movement of the mind, a movement that is incessant and fluid, we are best equipped to study the crises of our time as they occur. In particular, we are best able to examine and analyze the structure of capitalism itself, a structure which is formed by exchange value and is thus a system of infinite repetition and reproduction. A system of infinite plasticity—appropriating everything it comes in contact with. A system, in other words, akin to that of the mind. Hegel does not merely explain how the mind works but enacts its very movement. He places us in the center of its whirr. 

—Cynthia Cruz, author of “Charity Balls”

A few times a year, the writers Yiyun Li and A. M. Homes sit down to lunch. As friends, they often find themselves talking about almost anything but writing. Often, though, as they ask each other questions, something interesting and unexpected happens: “The thin thread of a story might be unearthed,” Homes recently told us, “or the detail of a recent experience, or a gnawing question one finds unanswerable. Somewhere between the menu, the meal and the coffee, maybe the story begins to form.”

Last year, Li and Homes both published new novels. In Li’s The Book Of Goose, she tells the story of a complex friendship between Agnes and Fabienne, farm girls, who each have been in some way neglected by their families. Homes’s latest book, The Unfolding, is a political satire that explores the fault lines of American politics within a family. 

At the end of the year, the two friends sat down for one of their lunches—and what follows is a bit of what they talked about.

The other day we went to Albany so I could return all eight items I had bought online from Athleta. The store was in a giant mall that smelled tragically of Cinnabons. The Cinnabons reminded me of the TV series Better Call Saul, which is set in part in a Cinnabon shop, and the way Saul Goodman was unable to resist pulling a con. He missed his old life. Jail was preferable to feeling unknown to himself.

The clothes in the store were made of fabrics that were “what is this?” and “no.” And there were mirrors, unlike in our house. Richard said, “Let’s go to the Banana.” He wanted a cashmere sweater. There were two he looked great in, and it made me so happy for someone to look good in clothes I said, “Buy both.” He said, “I don’t deserve them.” I said, “No one deserves anything. You are beautiful. Beauty is its own whatever.” One of the sweaters had a soft hoodie thing, and Richard liked walking around in the house in it. The hood came down a little low. I said, “You’re getting a seven dwarfs thing happening with the hood.” He pulled it back a little, and it was perfect.

The next day on our walk, he wore the hoodie over a cap covering his ears. When we recited three things in the moment we loved, he said, “I’m glad we’re walking, although I’m against it.” I said, “Why are you against it?” He said, “It’s too cold.” It was during the Arctic cyclone, and I was wearing my down coat from the eighties. The shoulder pads are out to Mars, and Richard said, “Everyone on Warren Street thinks you’ve been released from an alien abduction after thirty years. They are wondering why you were released.” I said, “Why was I released?” He said, “They couldn’t get anything useful from you about earthlings. It was a total waste of their time.”

I bought a giant wheel of focaccia with salt and olives from a bakery. The grease was soaking through the bag when I got outside. I tore off a hunk. Richard said, “Are you going to eat all that?” I said, “It tastes like a crispy pretzel from Central Park,” and I could see I was missing my old life. The way we live, there are cows outside our windows that belong to Abby Rockefeller. Abby Rockefeller has built a dairy farm down the road where a piece of cheese is either pay this or your mortgage. Richard took a bite of the focaccia. It still took forever to get through the hunk I’d torn off, and my hands froze. I said, “My fingers could break off like one of those corpses holding a clue to their murder.”

I have seen the Mississippi. That is muddy water. I have seen the Saint Lawrence. That is crystal water. But the Thames is liquid history.

—John Burns, quoted in the Daily Mail, January 25, 1943

In the upper left quadrant of Minnesota, a small winding brook and its bubbling waters form the beginnings of a journey from north to south, catching streams and tributaries along its track through the heart of North America toward the Gulf of Mexico. The name given to this massive system made of more than 100,000 waterways is the Mississippi River, a riparian sweep with a drainage basin touching approximately 1.2 million square miles, or 40 percent of the continental United States. With sand and silt ever flowing toward the river’s mouth, a wild wetland of marshes, swamps, and bayous reigns, turning solid land into sponge in the vast network of alluvial floodplains known as the Mississippi Delta. Just under one hundred miles from the Mississippi’s mouth, the river takes a sudden turn southward, snaking east and then north in a final return to its southeasterly course. In this crescent-shaped curvature between river, lake, and gulf lies New Orleans, named after Philippe I, duc d’Orléans by the French Canadian naval officer and colonial administrator Jean-Baptiste Le Moyne de Bienville. In his correspondence with Philippe, Bienville described this magnificent system of watercourses as “filled with a mud as deep as its oceanbed” yet “unmistakably Divine” for its navigational and commercial potential. Through royal decree, Bienville was granted two parcels of land for the establishment of a “new France in this riverside”—land financed by France’s first colonial trading corporation, the Mississippi Company, and cleared and worked by the first enslaved Africans in Louisiana.

Colonization and enslavement have marked the course of the Mississippi’s historical fate, forming an entanglement between the natural conditions of the landscape and the voracious efforts to order the land and extract from it at any cost. The establishment of Black subjugation and enslavement as the guiding principles of the Mississippi Delta’s development commenced with the first-generation European settlers, who constructed no end of plantations along River Road, or the “German Coast,” in the early eighteenth century, as part of a systemic effort to harness the Mississippi’s unique qualities and resources for white landowning rights and profits. This project required decades of collaboration at the micro and macro levels, with parish administrators and Washington pundits, militias of engineers and surveyors, industrial titans, landowners, lawyers, and corporations united in the deregulation, mapping, draining, and domestication of the Mississippi Valley. The abstraction of the landscape into parcels of extractive capital instantiated slave-trading and slaveholding as the political, economic, cultural, and moral “mud and mortar” of the American project in the lower Delta.

These histories and environmental legacies remain visible all over the landscape of New Orleans. They are seen and felt in the imposing framework of the ancien régime grid, which since the city’s founding has divided and segregated rich and poor, free from unfree, white and Black, collaborating with the networks of reservoirs, levees, pumping systems, and public riverfronts constructed along the edge of the Mississippi to keep the edges of it in line. Some plantation complexes where sugarcane was once harvested and processed still stand along the riverbanks of River Road (with a few transformed into sites of public education). In the space between them, petrochemical refineries financed by Formosa, Shell, and ExxonMobil light the skies with carcinogens and toxic smoke above and fluorescent sludge below, their plants constructed on former plantation sites, ancestral burial grounds of Indigenous tribes, and cemeteries of the enslaved. The will to squeeze and strangle the land, the river, and the Black and brown peoples who live and work there goes on, improvising anew across time and space.

Jesmyn Ward fans, rejoice! We officially have a title and release date for her next novel. Let Us Descend is slated for an October 3rd release from Scribner, a Simon & Schuster imprint.

The book will tell the story of enslaved teenage girl Annis, turning an unflinching eye at the terrifying reality of a life violently robbed of physical agency. “It took years and multiple drafts to understand how Annis and enslaved people might have retained their sense of self, their sense of hope, in a time and place that attempted to negate both, day in and out,” Ward said in a statement from Scribner. Let Us Descend is described as “a blend of magical realism, historical narrative and Dante’s ‘Inferno.'”

This will be Ward’s first release since Sing, Unburied, Sing, the epic family saga and road novel set in rural 21st century Mississippi that won the National Book Award for Fiction in 2017. Ward’s Salvage the Bones, set in the days leading up to Hurricane Katrina, won the award in 2011, making her the only Black author to win two National Book Awards for fiction. Among her other notable works are The Fire This Time, Where the Line Bleeds, and Men We Reaped.

Find more news and stories of interest from the book world in Breaking in Books.

In the fall of 2019 I was newly living in the Midwest. In my free time, I’d take long, aimless walks, trying to tune to the flat cold of the place. On one such walk I got a call from my friend Anya Zalevskaya; she was in Odesa, she said, working on a film, a documentary about the Ukrainian (but also Romanian, Jewish, and Soviet) director Kira Muratova. When Anya called, it was almost midnight in Odesa. She was sitting on a bench by the Black Sea; I could hear the waves, the inhale of her cigarette. What film of Muratova’s should I watch first? I asked her. Ah, she said, The Asthenic Syndrome, for sure. 

1990’s The Asthenic Syndrome takes us to Odesa, too, but this is an Odesa at the fraying edge of a Soviet time-space where, significantly, we never see the sea. The film is shot in places that suggest a borderland, an edge, a wobble: construction sites, mirrors, photographs, headstones, film screenings, cemeteries, a dog pound, a hospital ward, a soft-porn shoot. This in-between sense is temporal, as well: Muratova notes that she “had the great fortune of working in a period between the dominance of ideology and the dominance of the market, a period of suspension, a temporary paradise.” As with the asthenic syndrome itself (a state between sleeping and waking), the film is a realization of inbetweenness, an assembly of frictions and crossover states we feel through form: through Muratova’s use of juxtaposition; through her uncanny overpatterning of echoes and coincidences; through the shifts of register between documentary and opera. The film doesn’t proceed so much as weave itself in front of us, in a dazzling ivy pattern of zones and occurrences. You could call it late-Soviet baroque realism.

The film is really two films. The first, in black and white, opens out into a funeral. It’s for the husband of Natasha, we learn—a middle-aged woman possessed, in the ensuing scenes, to the very end of herself with grief. Because grief invents the road it travels, Natasha—like her audience—does not herself know what she will do next. With terrifying speed, she quits her job as a doctor, insulting coworkers in the process; takes a drunk home, tells him to strip, beds him; shoves and insults passersby. All this is captured in the camera’s eye, however, with a disinterested dignity. And then, abrupt as Natasha’s shoving, the first film breaks into the second (I’ll leave you to see the how and the why—it’s great). 

At the epicenter of the second film is the exhausted Nikolai, a schoolteacher who nods off in moments of emotional intensity. Occurrences flare up around Nikolai like religious antimiracles—a carp torn apart by female fingers as “Chiquita” plays, a high school boy imitating a game show host, the agonizing panorama of the dog pound. This is the social and inner world in abjection, yes: but because abjection is possible, the film seems to say, so is human dignity. The question of dignity binds the viewer to the film’s concern: what is the human when it is shorn of category, of psychology, of system? What are we when we are together? What are we when we are alone?

In the Goodreads monthly roundups of new books to watch out for, they often highlight eye-catching titles, whether they’re poetic, surprising, or particularly punny. Today, they gathered up some of the best new titles (August 2022 to January 2023 releases) in their own post.

Goodreads notes that titles long enough to be a complete sentence are in style right now. These kinds of titles have long been common in manga, and perhaps the popularity of that format has brought this convention over to North American publishing.

The title that got the most buzz this year has to be I’m Glad My Mom Died by Jennette McCurdy. It’s the kind of title, combined with the cover design, that stops you in your tracks in a bookstore. Paired with McCurdy’s fame and dry humor in her writing style, and this was a big bestseller of the year.

Here are some of the 36 recent releases Goodreads selected as the best titles publishing has to offer.

Dear Stephen King:

Last week, you had a tweet take off. I’ve seen it everywhere, including on several giant Facebook pages, Instagram pages, even on TikTok. The tweet, about book banning, is nice and sexy, attempting to break down the problem in under 280 characters. And you know, it was successful!

It got a lot of attention from your 7 million followers, as well as so many big names.

But, Stephen, this tweet, as thoughtful as I think you mean it to be, has done a lot of damage for the cause of anti-censorship in today’s world.

Nonfiction books are my jam, and nonfiction science books? Especially so. What I love is how broad the genre is. Science can include things like medicine, nature, ecology, marine biology, conservation, psychology, chemistry, microbiology, and much more. It can also include personal essay and memoir, and may weave in history. For me, that’s the beauty of science: its reach.

My shelves have been overflowing with books lately — there are so many great books out right now, and I’m still trying to catch up from 2022 — but my science bookshelves are particularly full. The diversity of science books right now is stunning, and it’s pushed me to read books in areas that I normally wouldn’t choose at first, like marine biology or ornithology.

This is just a small sampling of science books that have come out in the last few months, as well as some books that are coming out this spring. Topics run the gamut from cells to surgery, from diversity in conservation and environmental activism to the exploration of the possibility of aliens, and much more. You’ll notice that many of the books on my list blend science and memoir or personal essay, as opposed to a more straightforward nonfiction science book. I think this speaks to the power that science has for us, to push us to reflect on our own lives, and examine where we stand in the scheme of things and where we fit into the environment or universe.

Let’s take a look at some of the books you’ll definitely want to add to your TBR.