Are Philly elections a foregone conclusion? No, says ‘Philadelphia Battlefields,’ a new book on political upstarts from Rendell to Rhynhart. Pamela Forsythe reviews.

‘Disability Visibility,’ a first-person story collection that arrived along with the 30th anniversary of the Americans with Disabilities Act, is a platform where diverse disabled voices live in their own words. Alaina Johns reviews.

Robert Montgomery Scott, the late president of the Philadelphia Museum of Art, inherited a legacy that many of us might envy. But 'The Beneficiary,' his daughter’s unblinking post mortem, raises the old question: Is great wealth a blessing or a curse? Dan Rottenberg reviews.

‘Becoming Philadelphia’ gathers a new collection of columns by longtime Inquirer architecture critic Inga Saffron, but the book’s construction leaves something to be desired. Judy Weightman reviews.

Lyz Lenz’s ‘Belabored’ offers no solutions to the rampant anxieties of the present, but its bold centering of the realities of pregnancy offers something we may need even more. T.S. Mendola reviews.

‘The Use of Voice in Music Therapy,’ the first book from Philadelphia jazz singer Kelly Meashey, teaches singers and clinicians alike how to connect with an audience. Suzanne Cloud reviews.

‘PUNKS,’ the debut novel by Richard Cucarese, visits 1980s Philadelphia without sampling the social context that would’ve been so relevant today. Michelle Nugent reviews.

Karma Brown’s ‘Recipe for a Perfect Wife’ follows a woman who finds a cookbook in her new home that connects her to the life of a previous resident, a seemingly perfect housewife from another era. But dark secrets resonate in both women’s lives. Elisa Shoenberger reviews.

Xandria Phillips’s debut poetry collection, ‘Hull,’ explores longing, history, emancipation and resistance, and the stakes of precarious living. Matthew John Phillips reviews.

In Robin Wasserman’s new novel, a woman arrives in Philadelphia with no memory. Years later, her daughter sets out to find out what happened to her there, and why she has left again. Kirsten Bowen reviews.