As debates surrounding paid leave, universal daycare, and national healthcare rage on, Four Mothers is an intimate portrait of what those policies mean in the everyday lives of four women—and a compelling argument for the necessity and urgency of supporting parents.

In her hit Netflix comedy special Baby Cobra, an eight-month pregnant Ali Wong resonated so strongly that she even became a popular Halloween costume. Wong told the world her remarkably unfiltered thoughts on marriage, sex, Asian culture, working women, and why you never see new mom comics on stage but you sure see plenty of new dads.

This book offers advice, reassurance and a helping hand, with a wide range of solutions and strategies, as well as issues covered - everything from separation anxiety to issues at school, phobias and so much more. Help! My Child's Anxiety is Giving Me Anxiety is designed to fit each family's specific requirements, replenish confidence and put the positivity and pleasure back into parenting.

When Nancy Reddy had her first child, she found herself suddenly confronted with the ideal of a perfect mother—a woman who was constantly available, endlessly patient, and immediately invested in her child to the exclusion of all else. Reddy had been raised by a single working mother, considered herself a feminist, and was well on her way to a PhD. Why did doing motherhood "right" feel so wrong? For answers, Reddy turned to the mid-20th century social scientists and psychologists whose work still forms the basis of so much of what we believe about parenting.

As an internet culture critic for The New York Times, Amanda Hess had built a reputation among readers as a sharp observer of the seductions and manipulations of online life. But when Hess discovered she was pregnant with her first child, she found herself unexpectedly rattled by a digital identity crisis of her own. In the summer of 2020, a routine ultrasound detected a mysterious abnormality in Hess’s baby. Without hesitation, she reached for her phone, looking for answers.

They are everywhere on social media. Images of perfect, pleasant women with perfect, pretty children in perfect, tidy homes—the epitome of “good” moms. But this model of motherhood is an illusion that far too many women either measure themselves against or simply cannot relate to in the first place. Enter Jamilah Mapp and Erica Dickerson: if you are sex-positive, cannabis-friendly, and love sharing NSFW stories with your fellow mom friends, you’re not doing anything wrong and you are definitely not a bad mother. And Jamilah and Erica are your tribe.

Maya Patel has it all—her own start-up, a sexy, doting husband, influencer status, and now, a new baby. But behind closed doors, Maya's drowning. Her newborn is taking a toll on her marriage, her best friend won't return her calls, and her company's hanging on by a thread. The worst part? It's all her fault. If she could just be a better boss, mother, wife, daughter, friend… Maybe she wouldn't feel so guilty all the time. Enter: #Girlboss Liz Anderson, who introduces her to the "guilt pill," an experimental supplement that erases female guilt.

“The kid was objectively a tiny worm, even worse, a worm with my nose.” Welcome to Sarah Hoover’s unflinching take on motherhood and its expectations in which the beatific narrative women have been fed—one of immediate connection to your child followed by a joyful path of maternal discovery—turns out to be not quite true. In The Motherload, Hoover provides a candid, funny, and sobering look at the journey women undertake as expectant mothers and wives from the early days of pregnancy through labor and beyond.

The megatalented creator of Grey's Anatomy and Scandal and executive producer of How to Get Away with Murder chronicles how saying yes for one year changed her life - and how it can change yours, too.

The working homeless. In a country where hard work and determination are supposed to lead to success, there is something scandalous about this phrase. But skyrocketing rents, low wages, and a lack of tenant rights have produced a startling phenomenon: People with full-time jobs cannot keep a roof over their head, especially in America’s booming cities, where rapid growth is leading to catastrophic displacement. These families are being forced into homelessness not by a failing economy but a thriving one.

Throughout Zarna’s whole childhood in India, everyone called her “so American” just for reading the newspaper, having deep thoughts, and talking back to anyone over the age of thirty. When Zarna’s dad tried to marry her off at age fourteen, Zarna fled—first to the streets of Mumbai and ultimately to the glittering paradise of Akron, Ohio, where she got to become American for real.

One day in 2004, Gardiner Harris, a pharmaceutical reporter for The New York Times, was early for a flight and sat down at an airport bar. He struck up a conversation with the woman on the barstool next to him, who happened to be a drug sales rep for Johnson & Johnson. Her horrific story about unethical sales practices and the devastating impact they’d had on her family fundamentally changed the nature of how Harris would cover the company—and the entire pharmaceutical industry—for the Times.

Florence Grimes is a thirty-one-year-old party girl who always takes the easy way out. Single, broke and unfulfilled after the humiliating end to her girl band career, she has only one reason to get out of bed each day: her ten-year-old son Dylan. But then Alfie Risby, her son’s bully and the heir to a vast frozen food empire, mysteriously vanishes during a class trip, and Dylan becomes the prime suspect. Florence, for once, is faced with a task she can’t quit: She’s got to find Alfie and clear her son’s name, or risk losing Dylan forever.

In this exhilarating tale by New York Times bestselling and award-winning author Nnedi Okorafor, a disabled Nigerian American woman pens a wildly successful Sci-Fi novel, but as her fame rises, she loses control of the narrative—a surprisingly cutting, yet heartfelt drama about art and love, identity and connection, and, ultimately, what makes us human. This is a story unlike anything you’ve seen before.

Miranda July’s second novel confirms the brilliance of her unique approach to fiction. With July’s wry voice, perfect comic timing, unabashed curiosity about human intimacy, and palpable delight in pushing boundaries, All Fours tells the story of one woman’s quest for a new kind of freedom. Part absurd entertainment, part tender reinvention of the sexual, romantic, and domestic life of a forty-five-year-old female artist, All Fours transcends expectation while excavating our beliefs about life lived as a woman.