From true-crime legend T. J. English, the epic, behind-the-scenes saga of “Los Muchachos,” one of the most successful cocaine trafficking organizations in American history—a story of glitz, glamour, and organized crime set against 1980’s Miami.

Despite what Scarface might lead one to believe, violence was not the dominant characteristic of the cocaine business. It was corruption: the dirty cops, agents, lawyers, judges, and politicians who made the drug world go round. And no one managed that carousel of dangerous players better than Willy Falcon.

A Cuban exile whose family escaped Fidel Castro’s Cuba when he was eleven years old, Falcon, as a teenager, became active in the anti-Castro movement. He began smuggling cocaine into the U.S. as a way to raise money to buy arms for the Contras in Central America. This counter-revolutionary activity led directly to Willy’s genesis as a narco. He and his partners built an extraordinary international organization from the ground up. Los Muchachos, the syndicate founded by Falcon, thrived as a major cocaine distribution network in the U.S. from the late 1970’s into the early 1990’s. At their height, Los Muchachos made more than a hundred million dollars a year. At the same time, Willy, his brother Tavy Falcon, and partner Sal Magluta became famous as championship powerboat racers.

Cocaine, used by everyone from A-list celebrities to lawyers and people in law enforcement, came to define an era, and for a time, Willy Falcon and those like him—major suppliers, of whom there were only a few—became stars in their own right. They were the deliverers of good times, at least until the downside of persistent cocaine use became apparent: delusions of grandeur, psychological addiction, financial ruin. Thus, the War on Drugs was born, and federal authorities came after Falcon and his crew with a vengeance. Willy found himself on the run, his marriage and family life in shambles, the halcyon days of boat races and lavish trips to Vegas and parties at the Mutiny night club seemingly a distant memory.

T. J. English has been granted unprecedented access to the inner workings of Los Muchachos, sitting down with Willy Falcon and his associates for many lengthy interviews, and revealing never-before-understood details about drug trafficking. A classic of true-crime writing from a master of the genre, The Last Kilo traces the rise and fall of a true cocaine empire—and the lives left in its wake.

Infused with magical realism, this story blends first love and political intrigue with a quest for justice and self-determination in 1930s Haiti.

Sixteen-year-old Lucille hopes to one day open a school alongside her best friend where girls just like them can learn what it means to be Haitian: to learn from the mountains and the forests around them, to carve, to sew, to draw, and to sing the songs of the Mapou, the sacred trees that dot the island nation. But when her friend vanishes without a trace, a dream—a gift from the Mapou—tells Lucille to go to her village’s section chief, the local face of law, order, and corruption, which puts her life and her family’s at risk.
Forced to flee her home, Lucille takes a servant post with a wealthy Haitian woman from society’s elite in Port-au-Prince. Despite a warning to avoid him, she falls in love with her employer’s son. But when their relationship is found out, she must leave again—this time banished to another city to work for a visiting American writer and academic conducting fieldwork in Haiti. While Lucille’s new employer studies vodou and works on the novel that will become Their Eyes Were Watching God, Lucille risks losing everything she cares about—and any chance of seeing her best friend again—as she fights to save their lives and secure her future in this novel in verse with the racing heart of a thriller.

A magisterial cultural history of the Atlantic Ocean before Columbus, ranging from the early shaping of the continents and the emergence of homo sapiens to the story of shipbuilding, navigation, maritime exploration, slavery, and nascent European imperialism.

A dazzling and ambitious history of the pre-Columbian Atlantic seas, Ocean is a story that begins with the formation of the mid-Atlantic ridge some 200 million years ago and ends with the Castilian conquest of the Canary Islands in the fifteenth century, providing a template for the methods used by the Spanish in their colonization of the New World.

John Haywood eloquently argues that the perception of Atlantic history beginning with the first voyage of the celebrated Genoese navigator Christopher Columbus is a mistaken one, and that the seafaring and shipbuilding skills that enabled European global exploration and expansion did not arrive fully formed in the fifteenth century, but instead were learned over centuries and millennia in the Atlantic and its peripheral seas. The pre-Columbian history of the Atlantic is the story of how Europeans learned to master the oceans. This story is, therefore, key to understanding why it was Europeans, and not any of the world’s other seafaring peoples, who “discovered” the world.

Informed by the author’s extensive travels around the Atlantic Ocean, crossing Newfoundland’s Grand Banks, the Sea of Darkness, and the weed-covered Sargasso Sea, and populated by a heterogeneous and multiethnic cast of seafarers, fishermen, monks, merchants, and dreamers, Ocean is an in-depth history of a neglected subject, fusing geology, geography, mythology, developing maritime technologies, and the early history of exploration to narrate an enthralling story—one which lies at the very heart of Europe’s modern history and its relationship with the rest of the world.

From the BELOVED, AWARD-WINNING author of Our Wives Under the Sea, a speculative reimagining of King Lear, centering three sisters navigating queer love and loss in a drowning world

“One of my FAVORITE NOVELS of the past few years.” —Jeff VanderMeer, NEW YORK TIMES BESTSELLING author of Annihilation

It’s been raining for a long time now, so long that the land has reshaped itself and old rituals and religions are creeping back into practice. Sisters Isla, Irene, and Agnes have not spoken in some time when their father, an architect as cruel as he was revered, dies. His death offers an opportunity for the sisters to come together in a new way. In the grand glass house they grew up in, their father’s most famous creation, the sisters sort through the secrets and memories he left behind, until their fragile bond is shattered by a revelation in his will.

The sisters are more estranged than ever, and their lives spin out of control: Irene’s relationship is straining at the seams, Isla’s ex-wife keeps calling, and cynical Agnes is falling in love for the first time. But something even more sinister might be unfolding, something related to their mother’s long-ago disappearance and the strangers who have always seemed unusually interested in the sisters’ lives. Soon, it becomes clear that the sisters have been chosen for a very particular purpose, one with shattering implications for their family and their imperiled world.

For fans of American Housewife and the work of Lily King, a provocative, razor-sharp, and riotously entertaining story collection exploring the dark side of family and femininity.

CONTAINS “COMORBIDITIES,” WINNER OF THE BBC SHORT STORY PRIZE

In my life, I had always been a good woman; controlling what it was that I wanted. But recently, I had started to notice my bad energy, and I began to follow it, wondering where it would take me . . .

A woman has an unexpected outburst at a corporate therapy session for working mothers. A couple find some long-overdue time to rekindle their relationship and make an ill-advised home movie. A pregnant film director plots revenge on the actress who betrayed her. An ex-wife deliberately causes conflict at her ex-husband’s wedding.

This Is Why We Can’t Have Nice Things illuminates the lives of malicious, subversive, and untamed women. Exploring failed sisterhood, dubious parenting, and the dark side of modern love, this powerful and funny collection exposes how society wants women to behave, and shows what happens when they refuse.

A riveting history about the little-known rivalry between Margaret Sanger and Mary Ware Dennett that profoundly shaped reproductive rights in America

In the 1910s, as the birth control movement was born, two leaders emerged: Margaret Sanger and Mary Ware Dennett. While Sanger would go on to found Planned Parenthood, Dennett’s name has largely faded from public knowledge. Each held a radically different vision for what reproductive autonomy and birth control access should look like in America.

Few are aware of the fierce personal and political rivalry that played out between Sanger and Dennett over decades—a battle that had a profound impact on the lives of American women. Meticulously researched and vividly drawn, The Icon and the Idealist reveals how and why these two women came to activism, the origins of the clash between them, and the ways in which their missteps and breakthroughs have reverberated across American society for generations.

With deep archival scope and rigorous execution, Stephanie Gorton weaves together a personal narrative of two fascinating women and the political history of a country rocked by changing social norms, the Depression, and a fervor for eugenics. Refusing to shy away from the enmeshed struggles of race, class, and gender, Gorton has made a sweeping examination of every force that has come in the way of women’s reproductive freedom.

Brimming with insight and compelling portraits of women’s struggles throughout the twentieth century, The Icon and the Idealist is a comprehensive history of a radical cultural movement. 

A once-famous ballerina faces a final choice—to return to the world of Russian dance that nearly broke her, or to walk away forever—in this incandescent novel of redemption and love

On a White Night in 2019, prima ballerina Natalia Leonova returns to St. Petersburg two years after a devastating accident that stalled her career. Once the most celebrated dancer of her generation, she now turns to pills and alcohol to numb the pain of her past.

She is unmoored in her old city as the ghosts of her former life begin to resurface: her loving but difficult mother, her absentee father, and the two gifted dancers who led to her downfall.

One of those dancers, Alexander, is the love of her life, who transformed both Natalia and her art. The other is Dmitri, a dark and treacherous genius. When the latter offers her a chance to return to the stage in her signature role, Natalia must decide whether she can again face the people responsible for both her soaring highs and darkest hours.

Painting a vivid portrait of the Russian ballet world, where cutthroat ambition, ever-shifting politics, and sublime artistry collide, City of Night Birds unveils the making of a dancer with both profound intimacy and breathtaking scope. Mysterious and alluring, passionate and virtuosic, Juhea Kim’s second novel is an affecting meditation on love, forgiveness, and the making of an artist in a turbulent world.

The man behind some of the most memorable lyrics in the Great American Songbook steps from behind his brother’s shadow.

The first lyricist to win the Pulitzer Prize, Ira Gershwin (1896–1983) has been hailed as one of the masters of the Great American Songbook, a period which covers songs written largely for Broadway and Hollywood from the 1920s to the 1950s. Now, in the first full-length biography devoted to his life, Michael Owen brings Ira out at last from the long shadow cast by his younger and more famous brother George. Drawing on extensive archival sources and often using Ira’s own words, Owen has crafted a rich portrait of the modest man who penned the words to many of America’s best-loved songs, like “Fascinating Rhythm,” “Embraceable You,” and “They Can’t Take That Away from Me.”

These fruits of Ira’s lyric genius sprang from the simplest of seeds: a hand-drawn weekly created for a cousin, an amateur newspaper co-written with friend and future lyricist Yip Harburg, columns in the school papers at Townsend Harris High School and, later, City College of New York. The details of his early literary efforts demonstrate both his developing ambition and the early signs of his talent. But while the road to becoming a successful lyricist was neither short nor smooth, it did lead Ira to the greatest creative partnership of his life.

George and Ira Gershwin collaborated on a string of hit Broadway shows in the 1920s and 1930s that resulted in popular and financial success and spawned a long string of songs that have become classics. Owen offers fascinating glimpses of their creative process, drawing on Ira’s diaries and other contemporary sources, as well as the close relationship between the two brothers. Hollywood soon beckons and the brothers head west to California to work in the movie business. Greater fame and fortune seem right around the corner.

George Gershwin died in a Los Angeles hospital in July 1937. He was only 38 years old. His death marked a stark dividing line in Ira’s life, and from that point on much of his time and energy was devoted to the management of his brother’s estate and the care of his legacy. Accustomed to living in his brother’s shadow, it now threatened to overwhelm him. He worked to balance all the administrative tasks with a new series of collaborations with composers like Kurt Weill, Jerome Kern, Harry Warren, and Harold Arlen. Ira’s last Broadway work was in 1946, and several films and a book project—a collection of his lyrics with the stories behind them—occupied his later years along with the ongoing management of George’s affairs.

Ira Gershwin’s work with George left an enduring mark on American culture, as recognized by the Library of Congress in 2007 when it established the Gershwin Prize for Popular Song, which has been awarded to artists like Paul Simon, Carole King, Tony Bennett, Paul McCartney, and Elton John. In Ira Gershwin: A Life in Words, Michael Owen brings the publicity shy lyricist into the spotlight he deserves.

From the bestselling author of Norwegian Wood and Hard-Boiled Wonderland and the End of the World comes a love story, a quest, an ode to books and to the libraries that house them, and a parable for our peculiar times.
 
“Haruki Murakami invented 21st-century fiction.” —The New York Times • “More than any author since Kafka, Murakami appreciates the genuine strangeness of our real world.” —San Francisco Chronicle • “Murakami is masterful.” —Los Angeles Times

 
We begin with a nameless young couple: a boy and a girl, teenagers in love. One day, she disappears . . . and her absence haunts him for the rest of his life.
 
Thus begins a search for this lost love that takes the man into middle age and on a journey between the real world and an other world – a mysterious, perhaps imaginary, walled town where unicorns roam, where a Gatekeeper determines who can enter and who must remain behind, and where shadows become untethered from their selves. Listening to his own dreams and premonitions, the man leaves his life in Tokyo behind and ventures to a small mountain town, where he becomes the head librarian, only to learn the mysterious circumstances surrounding the gentleman who had the job before him. As the seasons pass and the man grows more uncertain about the porous boundaries between these two worlds, he meets a strange young boy who helps him to see what he’s been missing all along.
 
The City and Its Uncertain Walls is a singular and towering achievement by one of modern literature’s most important writers.  
 
“Truth is not found in fixed stillness, but in ceaseless change/movement. Isn’t this the quintessential core of what stories are all about?” —Haruki Murakami, from the afterword