Jane’s World

MOIRA DONEGAN RECONSIDERS A PRE-ROE ABORTION SERVICE IN A POST-ROE ERA

Meditations in an Emergency

LUCY SANTE ON EMMANUEL CARRÈRE’S BOOK OF MEDITATION AND MENTAL BREAKDOWN

Liz Kid

CHARLIE TYSON ON DARRYL PINCKNEY’S COMING-OF-AGE MEMOIR THAT DOUBLES AS A TRIBUTE TO ELIZABETH HARDWICK

BOOKFORUM CONTRIBUTORS on this season’s notable art books

ERIN SOMERS on fangirls

CRITICS AND NOVELISTS on what they’ve been reading

SARAH JAFFE interviews Namwali Serpell

SIMON LESER: Édouard Louis’s A Woman’s Battles and Transformations

JANE HU: Gwendoline Riley’s First Love and My Phantoms

JAMIE HOOD: Lucy Ives’s Life Is Everywhere

CHARLOTTE SHANE: Rachel Aviv’s Strangers to Ourselves: Unsettled Minds and the Stories That Make Us

MEGHAN O’ROURKE: Lynne Tillman’s Mothercare: On Obligation, Love, Death, and Ambivalence

CLAIRE JARVIS: Paula Byrne’s The Adventures of Miss Barbara Pym

ELIZABETH BARBER: Jessa Crispin’s My Three Dads: Patriarchy on the Great Plains

BEATRICE LOAYZA: Serge Daney’s The Cinema House & the World: The Cahiers du Cinéma Years, 1962–1981

CLAUDIA LA ROCCO: Neil Baldwin’s Martha Graham: When Dance Became Modern

NIKKI SHANER-BRADFORD: Philippa Snow’s Which as You Know Means Violence: On Self-Injury as Art and Entertainment

KATE SUTTON on Nicole Miller’s Michael in Black

HANNAH ZEAVIN: Lauren Berlant’s On the Inconvenience of Other People

JANIQUE VIGIER: Anne Truitt’s Yield: The Journal of an Artist

ALBERT MOBILIO: Sonia Delaunay

SASHA FRERE-JONES: Paul Steinbeck’s Sound Experiments: The Music of the AACM and Markus Müller’s Free Music Production/FMP: The Living Music and The Cricket: Black Music in Evolution, 1968–69