Virtual reality is genuine reality; that’s the central thesis of Reality+. In a highly original work of “technophilosophy,” David J. Chalmers gives a compelling analysis of our technological future. He argues that virtual worlds are not second-class worlds, and that we can live a meaningful life in virtual reality. We may even be in a virtual world already.

Robert McKee's screenwriting workshops have earned him an international reputation for inspiring novices, refining works in progress, and putting major screenwriting careers back on track. Quincy Jones, Diane Keaton, Gloria Steinem, Julia Roberts, John Cleese, and David Bowie are just a few of his celebrity alumni. Writers, producers, development executives, and agents all flock to his lecture series, praising it as a mesmerizing and intense learning experience.

Jia Tolentino is a peerless voice of her generation, tackling the conflicts, contradictions, and sea changes that define us and our time. Now, in this dazzling collection of nine entirely original essays, written with a rare combination of give and sharpness, wit and fearlessness, she delves into the forces that warp our vision, demonstrating an unparalleled stylistic potency and critical dexterity.

Producer, editor, and writer behind the highly addictive, informative, and popular YouTube channel The Nerdwriter, Evan Puschak presents “a brilliant, wide-ranging essay collection that explores meaning and how we make it with the thoughtfulness and open-hearted generosity that have long been hallmarks of Puschak’s writing” (John Green, New York Times bestselling author).

This is a meditation on the power of creative connection. Drawing on 20 years' experience as a writer and performer, Kae Tempest explores how and why creativity - however we choose to practise it - can cultivate greater self-awareness and help us establish a deeper relationship to ourselves and the world. Honest, tender and written with piercing clarity, On Connection is a call to arms that speaks to a universal yet intimate truth.

How do master storytellers compel us? There have been many attempts to understand what makes a good story, but few have used a scientific approach. In The Science of Storytelling, Will Storr applies dazzling psychological research and cutting-edge neuroscience to our myths and archetypes to show how we can tell better stories, revealing, among other things, how storytellers - and also our brains - create worlds by being attuned to moments of unexpected change.

There Plant Eyes probes the ways in which blindness has shaped our ocularcentric culture, challenging deeply ingrained ideas about what it means to be “blind”. For millennia, blind­ness has been used to signify such things as thoughtlessness (“blind faith”), irrationality (“blind rage”), and unconsciousness (“blind evolution”). But at the same time, blind people have been othered as the recipients of special powers as compensation for lost sight (from the poetic gifts of John Milton to the heightened senses of the comic book hero Daredevil).

We meet Andrew Leland as he’s suspended in the liminal state of the soon-to-be blind: he’s midway through his life with retinitis pigmentosa, a condition that ushers those who live with it from sightedness to blindness over years, even decades. He grew up with full vision, but starting in his teenage years, his sight began to degrade from the outside in. Soon— but without knowing exactly when—he will likely have no vision left. Full of apprehension but also dogged curiosity, Leland embarks on a sweeping exploration of the state of being that awaits him.

It's easy to feel insecure around art and its appreciation, as though we cannot enjoy certain artworks if we don't have a lot of academic and historical knowledge. But if there's one message that I want you to take away it's that anybody can enjoy art and anybody can have a life in the arts - even me! For even I, an Essex transvestite potter, have been let in by the artworld mafia.

White is Bret Easton Ellis's first work of nonfiction. Already the bad boy of American literature, from Less Than Zero to American Psycho, Ellis has also earned the wrath of right-thinking people everywhere with his provocations on social media, and here he escalates. Eschewing convention, he embraces views that will make many in literary and media communities cringe, as he takes aim at anti-Trump fixation, coastal elites, corporate censorship, Hollywood, identity politics, Generation Wuss, "woke" cultural watchdogs, and more.

This collection of writings by Mark Fisher, author of the acclaimed Capitalist Realism, argues that we are haunted by futures that failed to happen. Fisher searches for the traces of these lost futures in the work of David Peace, John Le Carré, Christopher Nolan, Joy Division, Burial, and many others.

Coventry encompasses memoir, cultural criticism, and writing about literature, with pieces on family life, gender, and politics, and on D. H. Lawrence, Françoise Sagan, and Kazuo Ishiguro. Named for an essay Cusk published in Granta (“Every so often, for offences actual or hypothetical, my mother and father stop speaking to me. There’s a funny phrase for this phenomenon in England: it’s called being sent to Coventry”), this collection is pure Cusk and essential listening for our age: fearless, unrepentantly erudite, and dazzling to behold.

Since she burst spectacularly into view with her debut novel almost two decades ago, Zadie Smith has established herself not just as one of the world's preeminent fiction writers but also a brilliant and singular essayist. She contributes regularly to The New Yorker and the New York Review of Books on a range of subjects, and each piece of hers is a literary event in its own right.

No writer is as emblematic of the American 20th century as Susan Sontag. Mythologized and misunderstood, lauded and loathed, a girl from the suburbs who became a proud symbol of cosmopolitanism, Sontag left a legacy of writing on art and politics, feminism and homosexuality, celebrity and style, medicine and drugs, radicalism and Fascism and Freudianism and Communism and Americanism, that forms an indispensable key to modern culture.

Today both reality and entertainment crowd our fields of vision with brutal imagery. The pervasiveness of images of torture, horror, and war has all but demolished the 20th-century hope that such imagery might shock us into a less alienated state, or aid in the creation of a just social order. What to do now? When to look, when to turn away? Genre-busting author Maggie Nelson brilliantly navigates this contemporary predicament, with an eye to the question of whether or not focusing on representations of cruelty makes us cruel.