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Back to his familiar mischief is the obstreperous creature that romped so riotously through The Pig Did It, the best-selling first novel in Joseph Caldwell’s Pig Trilogy. But in Mr. Caldwell’s entertaining porcine sequel, The Pig Comes to Dinner, the porker has some more serious business to attend to. All of the charming characters of the previous book are present again in this delightful new story. Kitty McCloud has bought an ancient Irish castle with the profits from her popular revisions of classic novels like Jane Eyre, and is now hard at work on her “correction” of George Eliot’s “big mess of a novel The Bloody Mill on the Bloody Floss – the added expletives a measure of Kitty’s consternation.” Kitty’s new husband, Kieran Sweeney, is tending the castle’s herd of cows when he isn’t locked in loving if contentious wrestling holds with his fiery new bride, his former rival in one of their district’s oldest blood feuds. Kitty’s American cousin, Aaron McCloud, has arrived with his new wife, the former Lolly McKeever, to redeliver to Kitty and Kieran their wedding gift of the troublesome pig, who is not at all welcome at the castle. But over their lighthearted discord hangs a weightier problem – Kitty’s new home is inhabited by two comely ghosts from out of the castle’s troubled past. How this haunting couple is dealt with serves only to embellish the allure and humor of Mr. Caldwell’s uniquely theatrical storytelling.

In 1981 Pulitzer Prize-winning novelist Alison Lurie published The Language of Clothes, a meditation on costume and fashion as an expression of history, social status and individual psychology. Amusing, enlightening and full of literary allusion, the book was highly praised and widely anthologized. Now Lurie has returned with a companion book, The Language of Houses, a lucid, provocative and entertaining look at how the architecture of buildings and the spaces within them both reflect and affect the people who inhabit them. Schools, churches, government buildings, museums, prisons, hospitals, restaurants, and of course, houses and apartments, all of them speak to human experience in vital and varied ways. The Language of Houses discusses historical and regional styles and the use of materials such as stone and wood and concrete, as well as contemplating the roles of stairs and mirrors, windows and doors, tiny rooms and cathedral-like expanses, illustrating its conclusions with illuminating literary references as well as the comments of experts in the field. This book, which is accompanied by light-hearted original drawings by Karen Sung, is an essential and highly entertaining new contribution to the literature of modern architecture.

In 1981 Pulitzer Prize-winning novelist Alison Lurie published The Language of Clothes, a meditation on costume and fashion as an expression of history, social status and individual psychology. Amusing, enlightening and full of literary allusion, the book was highly praised and widely anthologized. Now Lurie has returned with a companion book, The Language of Houses, a lucid, provocative and entertaining look at how the architecture of buildings and the spaces within them both reflect and affect the people who inhabit them. Schools, churches, government buildings, museums, prisons, hospitals, restaurants, and of course, houses and apartments, all of them speak to human experience in vital and varied ways. The Language of Houses discusses historical and regional styles and the use of materials such as stone and wood and concrete, as well as contemplating the roles of stairs and mirrors, windows and doors, tiny rooms and cathedral-like expanses, illustrating its conclusions with illuminating literary references as well as the comments of experts in the field. This book, which is accompanied by light-hearted original drawings by Karen Sung, is an essential and highly entertaining new contribution to the literature of modern architecture.

Into the life of the author, a novel appears, as if by chance, and changes everything. As a child in a music class where a remarkable teacher watches over a classmate marked for tragedy, the author comes across Willa Cather’s novel, Lucy Gayheart, and is prepared by fiction for an actual death by drowning of someone near her. Later, recently married and living in a newly independent Nigeria, a teacher now herself, she assigns Chinua Achebe’s Things Fall Apart to her students and is instructed by them in the violent legacy of colonialism, and visits an old slave port where she is made aware of her own benighted American innocence. In Nigeria, too, she is given A Portrait of a Lady and deeply ponders her own new marriage through the lens of Isabel Archer’s cautionary fate, remembers her adolescent fear that reading might be a way of avoiding experience. Afterward, spending a year in northern France, she puts Madame Bovary resolutely aside to discover in Bernanos’ Diary of a Country Priest a detailed guide to the town where she is living, the poverty and suffering hidden within its walls. The memoir closes with a tender account of the author’s friendship with the writer Diana Trilling, whose failing sight inspires a plan to read aloud Proust’s masterwork, an undertaking that requires six years to complete. Faced with Diana’s approaching death and the mysteries of her own life, the author wonders whether reading, after all, may not be experience at its most ardent, its most transforming.

Fabrizio Garrone is an impoverished but aristocratic translator who has been living a life of quiet desperation in Milan. He feels underappreciated and tormented by a persistent sense of having been cheated by life. But when he reads about a lost Viennese novel — The House on Moon Lake — in the journals of a late esteemed literary critic, he dreams that this project will put him on the cultural and literary map, and finally bring him the accolades that have eluded him. Fabrizio journeys to Vienna, tracks down the book, and translates it, and in so doing embarks on a nightmarish search for the truth behind the events depicted in it, as well as for clues about the tragic life of its forgotten author. When asked to write a short biography of the novelist, Fabrizio must invent details missing from the last three years of his subject’s life. The resulting biography is a publishing phenomenon. But the repercussions for Fabrizio are profound: he becomes the willing victim of a person he had thought to be fictional.

In this candid and bluntly humorous collection of essays on a wide range of topics, Lurie begins with a portrait of her life at Radcliffe during World War II when the smartest women in the country were treated like second-class citizens, the most scholarly among them expected to work in factories to support the war effort. She moves on to her unheralded, clumsy attempts and near failure to be a writer and, finally having reached a level of recognition, the good fortune of forming close relationships with other writers and editors and great thinkers, including Robert Silver of The New York Review of Books, the poet James Merrill, and the illustrator, Edward Gorey. On this fascinating journey, we are amused by her insightful, often delightfully funny meditations on topics such as “deconstruction” and beloved children’s literature series such as The Lion, the Witch and the Wardrobe, Harry Potter, and Babar. Words and Worlds is a crowning reminiscence from a much beloved and celebrated writer.

These stories (and one novella) arrive in the midst of the #Metoo movement. They examine the fallout from failed relationships between men and women, relationships that have crumbled under the weight of betrayal, misplaced hopes, illness―and in particular, from masculinity at its most toxic and misguided. A man in his mid-thirties receives a call from a woman he barely knew who informs him that a girl he bedded and dumped in high school has died of cancer. Another man who had an affair and left a woman without any warning finds himself working on a demolition job with a younger man who might be their son. Another man, obese for years, is left by his wife, loses weight and, drunk with the power of being finally fit, disastrously tries to reconnect with his former spouse. And in the title story of the collection, a woman summoned to the bedside of her son who has suffered a gunshot wound must finally come to terms with the serial infidelities of her charming ex-husband. These fictions ask very contemporary questions: how do ex-spouses learn to live again in proximity to one another; how do we make peace with our bodies and their own worst impulses; how do we learn to turn and face, full-on, the worst mistakes of our younger selves?

In 1923, having persuaded her resistant mother to send her to college, Kate Croft falls in love with science. Painfully rebuffed by a girl she longs for, and in flight from her own confusing sexuality, Kate finds refuge in the calm rationality of biology: its vision of a deeply interconnected world, and the promise that the new field of genetics can explain the way people are. But science, too, turns out to be marred by human weakness. Despite her hard work and extraordinary gifts, Kate struggles, facing discrimination, competition, and scientific theft. At the same time, a love affair is threatened by Kate’s obsession with figuring out the meaning of the puzzling changes she sees in her experiments. The novel explores what it takes to triumph in the ruthless world of mid-20th-century genetics, following Kate as she decides what she is—and is not—willing to sacrifice to succeed.

At thirty-two, Betsy is sheltered. Sheltered by a close-knit family, Catholic schools, college in her hometown, and a marriage at 20. It takes the discovery of her husband’s serial philandering to open her eyes and push her out of the nest. It’s the summer of 1981, Betsy grabs a backpack and a few good books and puts distance—geographically and emotionally—between herself and the life she knew in the American Midwest. She begins to make her own decisions: about cities, hotels, and dinner entrées. At airports, on trains, and in pensiones, Betsy takes her first steps into independence as she negotiates the brief, but intense relationships travelers have. Armed with a book of travelers’ phrases and a Swiss Army Knife, she brushes up against possibilities for connection, almost entering the life stories of the strangers she chances upon and whose paths we follow in alternating chapters. We become acquainted with a devout Muslim on a pilgrimage, a French financier raised on a rabbit farm, a lawyer on a solo honeymoon, a Pakistani gambler, a beguiling American threesome en route to Venice, an Italian hotel owner on Lake Como, and a passionate Irish protestor who literally carries her to safety from the streets of Dublin. Finally, back home, Betsy comes to the startling realization that her journey is only just beginning.

Set in Iowa and Minnesota in the 60s and 70s, Little Miseries is a Midwestern Gothic where sometimes the misery is just that—little—and sometimes it is epic and yawning, capable of swallowing every childhood memory. There are the miseries the Castles will talk about—old family lore about a great, great, great uncle who was split in two by connecting railroad cars—and the misery none of them will face. There are days at the lake, placid except for inexplicable tension the parents won’t address and the three Castle children don’t have names for. There are stories about sex and gore at cocktail parties, around bonfires, at sleepovers, in classrooms, and in the newspaper. Everyday growing pains are shadowed by the abduction of a local girl, reports of a massacre of nurses, and the harm done by strangers and by those who are charged to care for children. To survive childhood is to survive all of these miseries and tragedies, because growing up means waking up to a world that can be random and brutal. With some thematic overlap with Rick Moody’s The Ice Storm or if Sally Draper from Mad Men got to tell her side of the story, Little Miseries is set in a time and place when parents didn’t talk much to their children but they certainly talked around them—while dipping into whiskey or rum punch, whether on a long drive, on the beach, or in the comfort of their own home. Little Miseries is a tribute to what it means to come into awareness, to be a part of a family unit, and to bear responsibility for those you loved and who have been harmed along the way.

Eileen is too smart for the third grade, but when she gets a chance to be skipped ahead, she fails the test. The clownish school psychologist tries to gain her trust with an offer of Oreos, but she refuses. After all, he is a stranger and might try to poison her! This is the start of the author’s love-hate relationship with the rules as they were laid out for a girl in the 1960s and as they persist in some form today. As she ascends through a physics degree at Yale that dashes her hopes for love and romance, to a post-graduate summer that leaves her “peed on, shot at, and kidnapped,” to a marriage of supposed equals in which she is expected to do all the housework, child-rearing, and bill paying and make sure the Roto-Rooter guy arrives on time, Pollack shares with poignant humor the trials of being smart and female in a world in which women are rarely appreciated for both their bodies and their minds. Maybe It’s Me is a question all women have asked themselves. But Pollack’s message will resonate with readers of all genders as a story of the very human search for connection, love, acceptance, and self-respect. The author of the groundbreaking memoir The Only Woman in the Room: Why Science Is Still a Boys’ Club, Pollack proves that even in her sixties, wiser and more bruised but no less hilarious, she is still very much in the game.

A Chorus Linedancer tracks her evolution from determined small town girl to establishedartist, living her long-held dream of working on Broadway. But as the AIDSepidemic begins its insidious journey through her worlds—bothpersonal and professional—she must reconcile her career ambitions with her lovefor those closest to her.As a middle child in a large military family, Christine just wants to dance. Her parents support her dreams, even if they seem beyond their comprehension. At 20, determined and talented, Christine heads across the country from Santa Fe to New York City and, in a made for-Hollywood story, is chosen for the London cast of A Chorus Line. While unwilling to fully cut ties with the traditional life her parents envision for her, she finds a new family with the dancers and more fluid, open characters that fill the theater world in London, and later New York, in the ‘70s & ‘80s. Christine learns that one member of her family is equally at home in her new world: Laughlin, her older brother—divorced, a father, ex-military and a corporate lawyer—also makes his way to New York City, where he meets, and begins to build a life, with rising fashion star Perry Ellis. The two men enjoy a partnership and a financial success that Christine both admires. and envies. She spends much of her free time in their Upper West Side brownstone and Water Island retreat. Soon everyone is talking about a mysterious new disease. As deaths of dancers, theater folk, and eventually friends start to mount, Christine realizes she’s in the middle of an epidemic that neither her traditional family nor the public at large is ready to reckon with. As the AIDS crisis cuts closer and closer, eventually impacting those she loves most, Christine does what she has always done: she strikes her own path. This memoir is an emotional, honest examination of what it takes to succeed in the competitive world of New York theater, how hard-won dreams can be quickly lost, what it means to redefine family, and the devasting toll AIDS exacted on a generation of artists.

In his final college semester, Ben awakens to read on his computer screen of the death of his classmate and childhood friend Avi. Avi’s death is sudden and senseless, killed by a drunk driver on his way back to his dorm. Here begins Ben’s story of coming to terms with loss and finding his way to adulthood. In the fall of 2010, with his new degree in Moral Philosophy, Ben boards a plane to Israel to enlist in the Israel Defense Forces (IDF). Though Ben has never held a gun, before the next summer ends, he is a trained sharpshooter. His service takes him from the Negev Desert to the Occupied Territories and Gazan border, all while finding "home" at a southern kibbutz where he is adopted as a brother and son. From Providence, Rhode Island to California and at last to Israel where Ben joins Mahal, the special set of non-Israeli-born Jews who volunteer in the IDF, he finds family where never expected, a place of his own in the Israeli mosaic. In a memoir that is both a coming-of-age story and epic ballad, Bastomski’s lyrically told story is intensely personal and ultimately universal.

Dina would be dancing lead roles with the famous Kirov ballet, but growing antisemitism interferes with her career, forcing her to flee to Philadelphia, which seems like her best chance until she finds out that success in her new life is very different than she expected.Living with her Babby after her parents’ death, 10-year-old Dinah Ash is invited to train at Leningrad’s legendary Vaganova Ballet School. In the world of elite dance, she works hard, falls in love, and weathers the Soviet Union’s ubiquitous antisemitism, but despite an impressive talent, she quickly learns that dancers of her “profile” don’t make prima ballerinas. Love of Leningrad, ballet, friends, family, and books sustain Dinah until history intervenes. The Soviet war in Afghanistan, the rise of perestroika, and a re-emergence of Nazism leave her vulnerable and exposed. Realizing escape is her only option, she applies for refugee status in America. Dinah’s adjustment to life in the US is a test as much of her identity as of her perseverance. Is who she is something Dinah can forge on her own? Or is identity imposed by upbringing, public opinion, and the myths of our cultures? As Dinah struggles with the questions of religion, race, and worth, her choices and the people she encounters will determine whether the dream of a better life can survive the weight of the past.

After devastating wildfires force Frank and his young boyfriend, Logan, from their rental home in the California hills, Frank’s mother, Iris, a former B-list actress, offers them temporary shelter as more family trouble beckons from across the country.Iris Flynn is an acerbic, self-sufficient seventy-three-year-old widow with a minor Hollywood career in her past and some streamlined kitchen cabinets inspired by Marie Kondo. Her composed and simplified existence is disrupted when her son Frank lands on her doorstep after his rental home is destroyed in a wildfire, the latest in a string of personal setbacks for Frank. He arrives with Logan, his young and handsome boyfriend, a featured extra on a teen soap opera with a loyal Instagram following.Soon, news from her estranged family in Maine forces everyone out of their comfort zone. Iris convinces Frank and Logan to travel with her to the potato farm from where she made a quick getaway fifty years earlier, unleashing a funny and poignant family saga about secrets, forgiveness, and the fluctuating map of the human heart. An extraordinary story about family resilience, missed connections, and second chances that assures us it’s sometimes okay to create our own Hollywood endings.

Fans of Demon Copperhead will root for Zev Altshul on his cross-country journey across the United States. Brooklyn’s Hasidic community of Lubavitchers is turned upside down when family tragedy strikes and everyday life changes forever in the life of Zev Altshul.He is first placed into the care of the closed and close-knit community where he grew up, but soon realizes he can’t stay. His saving grace is handball; it’s his gift from God, and the one thing he can rely on as he is shuttled, chased, and abandoned by trusted elders, family, and friends. Even as Zev never fully escapes from the guilt of his choices, he sets course across the United States to discover where loyalty really lies and what it means. He seeks out his long-lost sister, only to find himself as unprepared for life outside the Lubavitcher community as he was unwilling to remain. Forced out of his second home, Zev plays handball to support himself in the goyische world, but obligations he doesn’t fully understand still tie him to Crown Heights and follow him to Chicago and New Mexico threatening always to return Zev to life among the Lubavitchers.Lyrical, vivid, and thoroughly engaging, this is certainly among the first novels of its kind.

Four stories (three of which appeared in the New Yorker) and a novella bring wit, compassion, and dizzying absurdity to facing life and death across generations. In “Things We Worried About When I Was Ten,” carefree boys running in apparent midwestern freedom are revealed to be as uncared for by their overburdened parents as they are carefree. “The Longer Grief” is a slow-motion explosion, as one moment in time propels shards of reckoning through a brother and sister, their shared history, and those they hold dear. In “Uncle Jim Called,” a man cooking stir fry answers his ringing phone to find the dead calling. “Suffocation Theory” slyly depicts our off-kilter and increasingly apocalyptic world. In the novella, “I have to Tell You,” Emma, nearing eighty, along with other elderly tenants in her midwestern apartment complex, seeks fairness from a conniving landlord. When an emergency stay in the hospital brings her face to face with looming injustice, she finds herself suddenly burdened with two mysteries to solve. She may never get to the end of them, but she is determined to do all she can, and maybe more than anyone expected. These stories show the author in top form as an incisive chronicler of the torments, pathos, and sometimes joys of being human. They are full of bite, wit, and ingenuity, and like all his classic work, they are powerful and timely. “Suffocation Theory,” appeared in the October 12th, 2020 issue of the New Yorker. The New Yorker published two other stories, “Uncle Jim Called” and “Things We Worried About When I Was Ten,” the latter a winner of the 2021 O. Henry Prize and is included in the most recent O. Henry collection, published in September 2021 and edited by Chimamanda Ngozi Adichie. The story “The Longer Grief” was awarded a first prize in the Narrative Story Contest (August 2019).

Set in Iowa and Minnesota in the 60s and 70s, Little Miseries is a Midwestern Gothic where sometimes the misery is just that—little—and sometimes it is epic and yawning, capable of swallowing every childhood memory. There are the miseries the Castles will talk about—old family lore about a great, great, great uncle who was split in two by connecting railroad cars—and the misery none of them will face. There are days at the lake, placid except for inexplicable tension the parents won’t address and the three Castle children don’t have names for. There are stories about sex and gore at cocktail parties, around bonfires, at sleepovers, in classrooms, and in the newspaper. Everyday growing pains are shadowed by the abduction of a local girl, reports of a massacre of nurses, and the harm done by strangers and by those who are charged to care for children. To survive childhood is to survive all of these miseries and tragedies, because growing up means waking up to a world that can be random and brutal. With some thematic overlap with Rick Moody’s The Ice Storm or if Sally Draper from Mad Men got to tell her side of the story, Little Miseries is set in a time and place when parents didn’t talk much to their children but they certainly talked around them—while dipping into whiskey or rum punch, whether on a long drive, on the beach, or in the comfort of their own home. Little Miseries is a tribute to what it means to come into awareness, to be a part of a family unit, and to bear responsibility for those you loved and who have been harmed along the way.

A Chorus Linedancer tracks her evolution from determined small town girl to establishedartist, living her long-held dream of working on Broadway. But as the AIDSepidemic begins its insidious journey through her worlds—bothpersonal and professional—she must reconcile her career ambitions with her lovefor those closest to her.As a middle child in a large military family, Christine just wants to dance. Her parents support her dreams, even if they seem beyond their comprehension. At 20, determined and talented, Christine heads across the country from Santa Fe to New York City and, in a made for-Hollywood story, is chosen for the London cast of A Chorus Line. While unwilling to fully cut ties with the traditional life her parents envision for her, she finds a new family with the dancers and more fluid, open characters that fill the theater world in London, and later New York, in the ‘70s & ‘80s. Christine learns that one member of her family is equally at home in her new world: Laughlin, her older brother—divorced, a father, ex-military and a corporate lawyer—also makes his way to New York City, where he meets, and begins to build a life, with rising fashion star Perry Ellis. The two men enjoy a partnership and a financial success that Christine both admires. and envies. She spends much of her free time in their Upper West Side brownstone and Water Island retreat. Soon everyone is talking about a mysterious new disease. As deaths of dancers, theater folk, and eventually friends start to mount, Christine realizes she’s in the middle of an epidemic that neither her traditional family nor the public at large is ready to reckon with. As the AIDS crisis cuts closer and closer, eventually impacting those she loves most, Christine does what she has always done: she strikes her own path. This memoir is an emotional, honest examination of what it takes to succeed in the competitive world of New York theater, how hard-won dreams can be quickly lost, what it means to redefine family, and the devasting toll AIDS exacted on a generation of artists.

When Francine Ephesians Didwell loses the love of her life, she is forced to reconnect with her estranged family. She's led two lives up until now, one with her evangelical charismatic family, and another of emancipated rebellion with her lover. Bereaved, Francine relocates to 1990s Venice Beach to start life over. She struggles to make a living doing massages and managing her new real estate of bread-and-butter units in hell. The novel moves between Francine's new home and her family estate just fifty miles inland where, hoping to reconnect, Francine discovers she must confront the truth about dark family secrets or lose herself in the suicidal world of drugs. To her great good luck, throughout her journey, she is assisted and supported by her other family: the yodeler, the sex worker, the local burglar who has taken up residence outside her window, and all the imperfect characters from the mean streets of Venice Beach. Hilarious and painful, Francine's life force and her thirst for freedom illuminate every page.

The Monsoon War revisits the futuristic country of Before She Sleeps, where government leaders maintain a stranglehold over women's freedom and reproductive lives. In a neglected southern province, a female armed resistance bands together as the Hamiyat, the protectors of those who are too weak to withstand. Now, they plan a courageous attack on the perpetrators of this regime that will free them from its tyranny forever.Alia Musa is the wife of three husbands in a remote mountain village of Dhofar. When her youngest child, Noor, discovers a group of women who have escaped the regime to take refuge on the mountain, Alia must leave her home, join the Hamiyat resistance, and find out just how far she is willing to go for the daughters she loves, the husband she adores, and the mountain that she calls home.As a promising young soldier in the Hamiyat, Katy Azadeh has found family and home in the resistance. Kidnapped during an unexpected skirmish and taken from the mountains, Katy is seduced by the ways of wealthy neighboring Eastern Semitia. Despite their veiled promises, Katy must find her way back to the Hamiyat to face the war that threatens their very existence.Commander Fatima Kara is a veteran of the Hamiyat, leading her women to protect the women of the mountain villages from the government agents and the abuses of polygamy. A once-in-a-lifetime opportunity from Eastern Semitia makes Fatima Kara gamble with the lives of her soldiers, to win the ultimate prize for them all—their freedom.The Monsoon War is a near-future resistance novel that harnesses the powerful metaphor of women’s bodies as the battleground on which the wars of the future will be played out.

"A thoughtful, notable addition to the literature of the Holocaust . . . a poignant memoir." —Kirkus ReviewsIn They Were Good Germans Once, author and biographer Evelyn Toynton speaks to a universal immigrant family experience — some embrace a new life, some forge a compromise between their new home and old traditions, while others never fully find their way.Through her series of essays, Toynton remembers her own relatives, some of whom left Germany as soon as Hitler came to power, others only escaping much later.Her family lost not only their native homeland and their sense of identity but many of the people they loved. Yet each found ways to give meaning to their lives, whether in their own small circles or in the world at large.

From a remote village between Italy and the Austro-Hungarian Empire unrolls the intimate story of Teresa and Carlo, two young people whose paths cross and recross as they are first impelled by parents, then forced by sweeping world events to leave their childhood homes for lives they never imagined.Having left her mother and cherished dog Allucio, in Ulfano, Teresa works as a domestic servant in a large villa in Trento. She survives the Great War in the occupied city by banding together in a makeshift family with the other servants of the owners who have fled to escape the occupation. Carlo, an American still new to Italy and who speaks barely passable Italian, is just finding his footing in Trento when he’s dragged from bed at his boarding school, along with his classmates, and conscripted by the invading Austrian army. In a comical twist of fate, Carlo’s childhood near the Colorado gold mines motivates his captors to place him with a company of miners tasked with digging entrenchments and bunkers and building a massive fortress out of stone and ice, even as blizzards rage and artillery shells fall from the sky. Out of sheer loneliness, Carlo writes letters to Teresa, the girl he met only once in Trento. After the war, Carlo returns to Trento and reconnects with Teresa. Times are unsettled, as soldiers and those who fled the war flood back to the city and signs of the impending Influenza epidemic appear. With so much chaos, tradition gives way to new ideas, so neither worries about the consequences of their growing attachment. However, the same independence that has them dreaming of a future that didn’t exist when they were children, may pull them apart forever.

Recently released from prison, reclusive Blake Alvares returns to the only place she ever felt safe, the now derelict Maine town in which she harbored as a teen. Determined to conceal her secrets and losses, she soon finds herself dragged into others’ lives when she rents a room from an ailing widow and takes a job on a boat owned by a notorious young lobsterman named Leland.Leland Savard is nearly broke, trying to support himself and 9-year-old Quinnie as he wrestles with a dangerous family legacy. Despite all odds, he and Blake forge a successful working partnership, and as she establishes a timid friendship with widowed Nora, Blake glimpses what it might mean to truly belong. But when Leland's rash actions place her and Quinnie in peril, Blake feels forced to run again. On her quest for home, she must confront a daunting question: can she ever again trust in human connection?- Winner: 2025 IPPY Silver Medal - Honorable Mention: Eric Hoffer Book Award- IPNE Book of the Year- Shelf Unbound Magazine's Book of the Year

A sequel to the author’s critically acclaimed Delphinium title, One of These Things First, The Greta Garbo Home for Wayward Boys and Girls is a poison-pen, love letter to the end of an era—Manhattan during the decadent, late 1970s.Picking up where he left off at the end of his widely praised debut memoir, One of These Things First, Gaines recounts his hilarious, sometimes poignant attempt to forge a writing career and a successful love life in the gay world of the 1970s. He has limited success until he falls in love with an older woman dying of cancer. Meanwhile, he serendipitously begins a career as a writer when he meets a former child evangelist, and with naïve chutzpah, manages to land a book deal that leads to a whirlwind career as a biographer, rock and roll columnist, and roman à clef novelist who writes a book with a Studio 54 bartender that brings the world down around them. From inside the entertainment business in New York and L.A. to inside the publishing world, Gaines narrates a life of escapades and adventures and searching for love in all the wrong places. After hitting rock bottom, he writes a book about the Beatles that ends up on the New York Times bestseller list, leading to popular esteem and a feeling of momentary redemption.

Dinah would be dancing lead roles with the famous Kirov ballet, but growing antisemitism threatens her career and her life, forcing her to flee to Philadelphia, which seems like her best chance until she finds out that success in her new homeland is very different than she expected.Living with her Babby after her parents’ death, 10-year-old Dinah Ash is invited to train at Leningrad’s legendary Vaganova Ballet School. In the world of elite dance, she works hard, falls in love, and weathers the Soviet Union’s ubiquitous antisemitism, but despite an impressive talent, she quickly learns that dancers of her “profile” don’t make prima ballerinas. Love of Leningrad, ballet, friends, family, and books sustain Dinah until history intervenes. The Soviet war in Afghanistan, the rise of perestroika, and a re-emergence of Nazism leave her vulnerable and exposed. Realizing escape is her only option, she applies for refugee status in America. Dinah’s adjustment to life in the US is a test as much of her identity as of her perseverance. Is who she is something Dinah can forge on her own? Or is identity imposed by upbringing, public opinion, and the myths of our cultures? As Dinah struggles with the questions of religion, race, and worth, her choices and the people she encounters will determine whether the dream of a better life can survive the weight of the past.For readers who enjoy thoughtful and unusual immigration stories like Adiche's Americanah with that special twist of love star-crossed and otherwise.

After devastating wildfires force Frank and his young boyfriend, Logan, from their rental home in the California hills, Frank’s mother, Iris, a former B-list actress, offers them temporary shelter as more family trouble beckons from across the country.Iris Flynn is an acerbic, self-sufficient seventy-three-year-old widow with a minor Hollywood career in her past and some streamlined kitchen cabinets inspired by Marie Kondo. Her composed and simplified existence is disrupted when her son Frank lands on her doorstep after his rental home is destroyed in a wildfire, the latest in a string of personal setbacks for Frank. He arrives with Logan, his young and handsome boyfriend, a featured extra on a teen soap opera with a loyal Instagram following.Soon, news from her estranged family in Maine forces everyone out of their comfort zone. Iris convinces Frank and Logan to travel with her to the potato farm from where she made a quick getaway fifty years earlier, unleashing a funny and poignant family saga about secrets, forgiveness, and the fluctuating map of the human heart.An extraordinary story about family resilience, missed connections, and second chances that assures us it’s sometimes okay to create our own Hollywood endings.

For this edition, Rashke has added a preface and three short chapters that explore what has been released and learned about the Silkwood case since the book's original publication.Karen Silkwood, an employee of the Kerr-McGee plutonium processing plant, was killed in a car crash on her way to deliver important documents to a newspaper reporter in 1974. Silkwood was a union activist concerned about health and safety issues at the plant, and her death at age 28 was considered by many to be highly suspicious. Was it Kerr-McGee's revenge on a troublesome whistle-blower? Or was it part of a much larger conspiracy reaching from the Atomic Energy Commission to the FBI and the CIA? Richard Rashke leads us through the myriad of charges and countercharges, theories and facts, and reaches conclusions based solely on the evidence in hand. Originally published in 1981, his audiobook offers a vivid, edgy picture of the tensions that racked this country in the 1970s. Now updated, with never-before-revealed names and content, this new volume is an important historical document. Complex, fascinating characters populate this compelling insider's view of the nuclear industry. The issues it explores - whistle-blowers, worker safety, the environment, and nuclear vulnerability - have not lost relevance today, 26 years after Silkwood's white Honda Civic was found trapped in a concrete culvert near Oklahoma City. Rashke fully explores and explains what happened to the various actors in the drama, and discusses the long-term effects of the events around Silkwood's death.Karen Silkwood is recognized by many as the original "Whistler-Blower". Current events should impel every curious reader to pick up this investigation to better understand how power, politics, and greed still influence America's business interests.