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On February 11, 2012, Whitney Houston was found submerged in the bathtub of her suite at the Beverly Hilton Hotel. Since then, the world has mourned her death amid new revelations about her relationship to her Blackness, her sexuality, and her addictions. Didn’t We Almost Have It All is award-winning journalist Gerrick Kennedy’s exploration of the duality of Whitney’s life as both a woman in the spotlight and someone who often had to hide who she was. This is the story of Whitney’s life—her whole life—told with both grace and honesty.

Long before that fateful day in 2012, Whitney split the world wide open with her voice. Hers was a once-in-a-generation talent forged in Newark, New Jersey, and blessed with the grace of the church and the wisdom of a long lineage of famous gospel singers. She redefined “The Star-Spangled Banner.” She became a box-office powerhouse, a queen of the pop charts, and an international superstar. But all the while, she was forced to rein in who she was amid constant accusations that her music wasn’t Black enough, original enough, honest enough.

Kennedy deftly peels back the layers of Whitney’s complex story to get to the truth at the core of what drove her, what inspired her, and what haunted her. He pulls the narrative apart into the key elements that informed her life—growing up in the famed Drinkard family; the two romantic relationships that shaped the entirety of her adult life: Robyn Crawford and Bobby Brown; her fraught relationship to her own Blackness and the ways in which she was judged by the Black community; her drug and alcohol addiction; and, finally, the shame that she carried in her heart, which informed every facet of her life. Drawing on hundreds of sources, Kennedy takes readers back to a world in which someone like Whitney simply could not be, and explains in excruciating detail the ways in which her fame did not and could not protect her.

In the time since her passing, the world and the way we view celebrity have changed dramatically. A sweeping look at Whitney’s life, Didn’t We Almost Have It All contextualizes her struggles against the backdrop of tabloid culture, audience consumption, mental health stigmas, and racial divisions in America. It explores exactly how and why we lost a beloved icon far too soon.

Born in 1870 in Chiaravalle, Italy, Maria Montessori would grow up to embody almost every trait men of her era detested in the fairer sex. She was self-confident, strong-willed, and had a fiery temper at a time when women were supposed to be soft and pliable. She studied until she became a doctor at a time when female graduates in Italy provoked outright scandal. She never wanted to marry or have children—the accepted destiny for all women of her milieu in late nineteenth-century bourgeois Rome—and when she became pregnant by a colleague of hers, she gave up her son to continue pursuing her career.

At around age thirty, Montessori was struck by the condition of children in the slums of Rome’s San Lorenzo neighborhood, and realized what she wanted to do with her life: change the school, and therefore the world, through a new approach to the child’s mind. In spite of the resistance she faced from all sides—scientists accused her of being too mystical, and the clergy of being too scientific, traditionalists of giving children too much freedom, and anarchists of giving them too much structure—she would garner acclaim and establish the influential Montessori method, which is now practiced throughout the world.

A thorough, nuanced portrait of this often controversial woman, The Child Is the Teacher offers an unbiased perspective from an author who is not a member of the Montessori movement, but who has been granted access to original letters, diaries, notes, and texts written by Montessori herself, including an array of previously unpublished material.