Summer Reading 2024: Upper School

By the time Effie Galanos starts her senior year, it feels like she's already been thinking about college applications for an eternity–after all, finding a college that will be the perfect fit and be accessible enough for Effie to navigate in her wheelchair presents a ton of considerations that her friends don't have to worry about. What Effie hasn't told anyone is that she already knows exactly what school she has her heart set on: a college in NYC with a major in Mass Media & Society that will set her up perfectly for her dream job in digital media. She's never been to New York, but paging through the brochure, she can picture the person she'll be there, far from the Minneapolis neighborhood where she's lived her entire life. When she finds out that her longtime crush is applying there too, it seems like one more sign from the universe that it's the right place for her. But it turns out that the universe is full of surprises. As Effie navigates her way through a year of admissions visits, senior class traditions, internal and external ableism, and a lot of firsts–and lasts–she starts to learn that sometimes growing up means being open to a world of possibilities you never even dreamed of.

"She wrote it but she shouldn't have. She wrote it but look what she wrote about. She wrote it but she isn't really an artist, and it isn't really art. She wrote it but she had help. She wrote it but she's an anomaly. She wrote it BUT..." How to Suppress Women's Writing is a meticulously researched and humorously written "guidebook" to the many ways women and other minorities have been barred from producing or getting credit for their written art. In chapters like "Bad Faith," "Denial of Agency," "The Double Standard of Content," "Isolation," and "Lack of Models, Joanna Russ names, defines, and illustrates those barriers to art-making many may have felt but which tend to remain unnamed and thus insolvable.

When Cameron Post's parents die suddenly in a car crash, her shocking first thought is relief. Relief they'll never know that, hours earlier, she had been kissing a girl. But that relief doesn't last, and Cam is forced to move in with her conservative aunt Ruth and her well-intentioned but hopelessly old-fashioned grandmother. She knows that from this point on, her life will forever be different. Survival in Miles City, Montana, means blending in and leaving well enough alone, and Cam becomes an expert at both. Then Coley Talor moves to town. Beautiful, pickup-driving Coley is a perfect cowgirl with the perfect boyfriend to match. She and Cam forge an unexpected and intense friendship, one that seems to leave room for something more to emerge. But just as that starts to seem like a real possibility, Aunt Ruth takes drastic action to "fix" her niece, bringing Cam face-to-face with the cost of denying her true self–even if she's not quite sure who that is.

After Jim O'Connell graduated from Harvard Medical School and was nearing the end of his residency at Massachusetts General, the hospital's chief of medicine made a proposal: Would he defer a prestigious fellowship and spend a year helping to create an organization to bring health care to homeless citizens? That year turned into O'Connell's life's calling. Tracy Kidder spent five years following Dr. O'Connell and his colleagues as they work with thousands of homeless patients. We travel with O'Connell as he navigates the city streets at night, offering medical care, socks, soup, empathy, humor, and friendship to some of the city's most endangered citizens. He emphasizes a style of medicine in which patients come first, joined with their providers in what he calls "a system of friends." Kidder explores how Jim O'Connell and a dedicated group of people have improved countless lives by facing and addressing one of American society's most difficult problems, instead of looking away.

Authors June Hayward and Athena Liu were supposed to be twin rising stars. But Athena’s a literary darling. June Hayward is literally nobody. Who wants stories about basic white girls, June thinks. So when June witnesses Athena’s death in a freak accident, she acts on impulse: she steals Athena’s just-finished masterpiece, an experimental novel about the unsung contributions of Chinese laborers during World War I. So what if June edits Athena’s novel and sends it to her agent as her own work? So what if she lets her new publisher rebrand her as Juniper Song—complete with an ambiguously ethnic author photo? Doesn’t this piece of history deserve to be told, whoever the teller? That’s what June claims, and the New York Times bestseller list seems to agree. But June can’t get away from Athena’s shadow, and emerging evidence threatens to bring June’s (stolen) success down around her. As June races to protect her secret, she discovers exactly how far she will go to keep what she thinks she deserves.

As a young woman growing up in small-town Iowa, Regan Penaluna daydreamed about the big questions: Who are we and what is this strange world we find ourselves in? In college she fell in love with philosophy. What Penaluna didn't realize was that the Western philosophical canon taught in American universities, as well as the culture surrounding it, would slowly grind her down through its misogyny, its harassment, its devaluation of women and their intellect. One day, in an obscure monograph, Penaluna came across Damaris Cudworth Masham's name. The daughter of philosopher Ralph Cudworth and a contemporary of John Locke, Masham wrote about knowledge and God, and the condition of women. Masham's work led Penaluna to other remarkable women philosophers of the era: Mary Astell, who moved to London at age twenty-one and made a living writing philosophy; Catharine Cockburn, a philosopher, novelist, and playwright; and the better-known Mary Wollstonecraft, who wrote extensively in defense of women's minds. Together, these women rekindled Penaluna's love of philosophy and awakened her feminist consciousness. Funny, honest, and wickedly intelligent, this is a moving meditation on what philosophy could look like if women were treated equally.

Out in the desert in a place called the Palace, a young man tends to a dying soul, someone he once knew briefly but who has haunted the edges of his life: Juan Gay. Playful raconteur, child lost and found and lost, guardian of the institutionalized, Juan has a project to pass along, one built around a book and its devastating history. This book contains accounts collected in the early twentieth century from queer subjects by a queer researcher, Jan Gay, whose groundbreaking work was then co-opted by a committee, her name buried. The voices of these subjects have been filtered, muted, but it is possible to hear them from within and beyond the text, which, in Juan's tattered volumes, has been redacted with black marker on nearly every page. As Juan waits for his end, he and the narrator recount for each other moments of joy and oblivion; they resurrect loves, lives, mothers, fathers, minor heroes. In telling their own stories and the story of the book, they resist the ravages of memory and time. The past is with us, beside us, ahead of us; what are we to create from its gaps and erasures? A book about storytelling–its legacies, dangers, delights, and potential for change–and a bold exploration of form, art, and love, Justin Torres's Blackouts uses fiction to see through the inventions of history and narrative.

Linda Villarosa lays bare the forces in the American health-care system and in American society that cause Black people to "live sicker and die quicker" compared to their white counterparts. Today's medical texts and instruments still carry fallacious slavery-era assumptions that Black bodies are fundamentally different from white bodies. Study after study of medical settings show worse treatment and outcomes for Black patients. Black people live in dirtier, more polluted communities due to environmental racism and neglect from all levels of government. And, most powerfully, Villarosa describes the new understanding that coping with the daily scourge of racism ages Black people prematurely. Anchored by unforgettable human stories and offering incontrovertible proof, Under the Skin is dramatic, tragic, and necessary reading.

In 1848, a young, enslaved couple, Ellen and William Craft, achieved one of the boldest feats of self-emancipation in American history. Posing as master and slave, while sustained by their love as husband and wife, they made their escape together across more than 1,000 miles from Georgia to the free states of the North. Along the way, they dodged slave traders, military officers, and even friends of their enslavers, who might have revealed their true identities. The tale of their adventure soon made them celebrities, and generated headlines around the country. Americans could not get enough of this charismatic young couple, who traveled another 1,000 miles criss-crossing New England, drawing thunderous applause as they spoke alongside some of the greatest abolitionist luminaries of the day. But even then, they were not out of danger. With the passage of an infamous new Fugitive Slave Act in 1850, all Americans became accountable for returning refugees like the Crafts to slavery. Then yet another adventure began, as slave hunters came up from Georgia, forcing the Crafts to flee once again--this time from the United States. With three epic journeys compressed into one monumental bid for freedom, Master Slave Husband Wife is an American love story–one that would challenge the nation's core precepts of life, liberty, and justice for all.