The highly anticipated first book by Karen Kilgariff and Georgia Hardstark, the voices behind the #1 hit podcast My Favorite Murder!

From the first North American scholar permitted to study in residence at Hemingway’s beloved Cuban home comes a radically new understanding of “Papa’s” life in Cuba

Ernest Hemingway first landed in Cuba in 1928. In some ways he never left. After a decade of visiting regularly, he settled near Cojímar—a tiny fishing village east of Havana—and came to think of himself as Cuban. His daily life among the common people there taught him surprising lessons, and inspired the novel that would rescue his declining career. That book, The Old Man and the Sea, won him a Pulitzer and, one year later, a Nobel Prize. In a rare gesture of humility, Hemingway announced to the press that he accepted the coveted Nobel “as a citizen of Cojímar.”

In Ernesto, Andrew Feldman uses his unprecedented access to newly available archives to tell the full story of Hemingway’s self-professed Cuban-ness: his respect for Cojímar fishermen, his long-running affair with a Cuban lover, the warmth of his adoptive Cuban family, the strong influences on his work by Cuban writers, his connections to Cuban political figures and celebrities, his denunciation of American imperial ambitions, and his enthusiastic role in the revolution.

With a focus on the island’s violent political upheavals and tensions that pulled Hemingway between his birthplace and his adopted country, Feldman offers a new angle on our most influential literary figure. Far from being a post-success, pre-suicide exile, Hemingway’s decades in Cuba were the richest and most dramatic of his life, and a surprising instance in which the famous American bully sought redemption through his loyalty to the underdog.

How are young women supposed to see each other clearly when they can’t even see themselves? This razor-sharp novel “perfectly captures [the] power dynamics and identity issues that . . . women are forced to face.”—Marie Claire (Must-Read Books of 2019)

Fiona and Liv are seniors at Buchanan College, a small liberal arts school in rural Pennsylvania. Fiona, who is still struggling emotionally after the death of her younger sister, is spending her final college year sleeping with abrasive men she meets in bars. Liv is happily coupled and on the fast track to marriage with an all-American frat boy. Both of their journeys, and their friendship, will be derailed by the relationships they develop with Oliver Ash, a ruggedly good-looking visiting literature professor whose first novel was published to great success when he was twenty-six.

But now Oliver is in his early forties, with thinning hair and a checkered past, including talk of a relationship with an underage woman—a former student—at a previous teaching job. Meanwhile, Oliver’s wife, Simone, is pursuing an academic research project in Berlin, raising their five-year-old son, dealing with her husband’s absence, and wondering if their marriage is beyond repair.

This sly, stunning, wise-beyond-its-years novel is told from the perspectives of the three women and showcases Mandy Berman’s talent for exploring the complexities of desire, friendship, identity, and power dynamics in the contemporary moment.

Advance praise for The Learning Curve

“[A] smart, engaging coming-of-age story . . . [Mandy] Berman delivers a thorough and incredibly timely investigation into relationship power imbalances that’s sure to start a lot of conversations.”—Publishers Weekly

“Berman’s spot-on dialogue keeps the pages turning . . . timely . . . should find a large readership.”—Booklist

Ruth Hartland is a psychotherapist with years of experience. But professional skill is no guard against private grief. The mother of grown twins, she is haunted by the fact that her beautiful, difficult, fragile son Tom, a boy who never “fit in,” disappeared a year and a half earlier. She cannot give up hope of finding him, but feels she is living a kind of half-life, waiting for him to return.

Enter a new patient, Dan–unstable and traumatized–who looks exactly like her missing son. She is determined to help him, but soon, her own complicated feelings, about how she has failed her own boy, cloud her professional judgement. And before long, the unthinkable becomes a shattering reality….

An utterly compelling drama with a timebomb at its core, A Good Enough Mother is a brilliant, beautiful story of mothering, and how to let go of the ones we love when we must.

Dustin Lance Black wrote the Oscar-winning screenplay for Milk and helped overturn California’s anti–gay marriage Proposition 8, but as an LGBTQ activist he has unlikely origins—a conservative Mormon household outside San Antonio, Texas. His mother, Anne, was raised in rural Louisiana and contracted polio when she was two years old. She endured brutal surgeries, as well as braces and crutches for life, and was told that she would never have children or a family. Willfully defying expectations, she found salvation in an unlikely faith, raised three rough-and-rowdy boys, and escaped the abuse and violence of two questionably devised Mormon marriages before finding love and an improbable career in the U.S. civil service.

By the time Lance came out to his mother at age twenty-one, he was a blue-state young man studying the arts instead of going on his Mormon mission. She derided his sexuality as a sinful choice and was terrified for his future. It may seem like theirs was a house destined to be divided, and at times it was. This story shines light on what it took to remain a family despite such division—a journey that stretched from the steps of the U.S. Supreme Court to the woodsheds of East Texas. In the end, the rifts that have split a nation couldn’t end this relationship that defined and inspired their remarkable lives.

Mama’s Boy is their story. It’s a story of the noble quest for a plane higher than politics—a story of family, foundations, turmoil, tragedy, elation, and love. It is a story needed now more than ever.

In Alpha Girls, award-winning journalist Julian Guthrie takes readers behind the closed doors of venture capital, an industry that transforms economies and shapes how we live. We follow the lives and careers of four women who were largely written out of history – until now.

Magdalena Yesil, who arrived in America from Turkey with $43 to her name, would go on to receive her electrical engineering degree from Stanford, found some of the first companies to commercialize internet access, and help Marc Benioff build Salesforce. Mary Jane Elmore went from the corn fields of Indiana to Stanford and on to the storied venture capital firm IVP – where she was one of the first women in the U.S. to make partner – only to be pulled back from the glass ceiling by expectations at home. Theresia Gouw, an overachieving first-generation Asian American from a working-class town, dominated the foosball tables at Brown (she would later reluctantly let Sergey Brin win to help Accel Partners court Google), before she helped land and build companies including Facebook, Trulia, Imperva, and ForeScout. Sonja Hoel, a Southerner who became the first woman investing partner at white-glove Menlo Ventures, invested in McAfee, Hotmail, Acme Packet, and F5 Networks. As her star was still rising at Menlo, a personal crisis would turn her into an activist overnight, inspiring her to found an all-women’s investment group and a national nonprofit for girls.

These women, juggling work and family, shaped the tech landscape we know today while overcoming unequal pay, actual punches, betrayals, and the sexist attitudes prevalent in Silicon Valley and in male-dominated industries everywhere. Despite the setbacks, they would rise again to rewrite the rules for an industry they love. In Alpha Girls, Guthrie reveals their untold stories.

After her mother’s death, Nunu moves from Istanbul to a small apartment in Paris. One day outside of a bookstore, she meets M., an older British writer whose novels about Istanbul Nunu has always admired. They find themselves walking the streets of Paris and talking late into the night. What follows is an unusual friendship of eccentric correspondence and long walks around the city.

M. is working on a new novel set in Turkey and Nunu tells him about her family, hoping to impress and inspire him. She recounts the idyllic landscapes of her past, mythical family meals, and her elaborate childhood games. As she does so, she also begins to confront her mother’s silence and anger, her father’s death, and the growing unrest in Istanbul. Their intimacy deepens, so does Nunu’s fear of revealing too much to M. and of giving too much of herself and her Istanbul away. Most of all, she fears that she will have to face her own guilt about her mother and the narratives she’s told to protect herself from her memories.

A wise and unguarded glimpse into a young woman’s coming into her own, Walking on the Ceiling is about memory, the pleasure of invention, and those places, real and imagined, we can’t escape.

About the Author
Ayşegül Savaş grew up in Turkey and Denmark. Her work has appeared in The Paris Review, Guernica, and elsewhere, and was shortlisted for the Glimmer Train Fiction Prize and the Graywolf Emerging Writers Award. She has an MFA from the University of San Francisco. She teaches at the Sorbonne and lives in Paris.