From the best-selling, award-winning author of The Sense of an Ending, a magnetic tale that centers on the presence of a vivid and particular woman, whose loss becomes the occasion for a man’s deeper examination of love, friendship, and biography.

“I’ll remember Elizabeth Finch when most other characters I’ve met this year have faded.” –John Self, The Times

This beautiful, spare novel of platonic unrequited love springs into being around the singular character of the stoic, exacting Professor Elizabeth Finch. Neil, the narrator, takes her class “Culture and Civilisation,” taught not for undergraduates but for adults of all ages; we are drawn into his intellectual crush on this private, withholding, yet commanding woman. While other personal relationships and even his family drift from Neil’s grasp, Elizabeth’s application of her material to the matter of daily living remains important to him, even after her death, in a way that nothing else does.

In Elizabeth Finch, we are treated to everything we cherish in Barnes: his eye for the unorthodox forms love can take between two people, a compelling swerve into nonfictional material (this time, through Neil’s obsessive study of Julian the Apostate, following on notes Elizabeth left for him to discover after her death), and the forcefully moving undercurrent of history, and biography in particular, as nourishment and guide in our current lives.

Astrophysicist and folklorist Dr. Moiya McTier channels The Milky Way in this approachable and utterly fascinating autobiography of the titular galaxy, detailing what humans have discovered about everything from its formation to its eventual death, and what more there is to learn about this galaxy we call home.

After a few billion years of bearing witness to life on Earth, of watching one hundred billion humans go about their day-to-day lives, of feeling unbelievably lonely, and of hearing its own story told by others, The Milky Way would like a chance to speak for itself. All one hundred billion stars and fifty undecillion tons of gas of it.

It all began some thirteen billion years ago, when clouds of gas scattered through the universe’s primordial plasma just could not keep their metaphorical hands off each other. They succumbed to their gravitational attraction, and the galaxy we know as the Milky Way was born. Since then, the galaxy has watched as dark energy pushed away its first friends, as humans mythologized its name and purpose, and as galactic archaeologists have worked to determine its true age (rude). The Milky Way has absorbed supermassive (an actual technical term) black holes, made enemies of a few galactic neighbors, and mourned the deaths of countless stars. Our home galaxy has even fallen in love.

After all this time, the Milky Way finally feels that it’s amassed enough experience for the juicy tell-all we’ve all been waiting for. Its fascinating autobiography recounts the history and future of the universe in accessible but scientific detail, presenting a summary of human astronomical knowledge thus far that is unquestionably out of this world.

The beguiling story of a young journalist whose investigation of a murder leads her to the most legendary healer in all of Mexico, from one of the most prominent voices of a new generation of Latin American writers

Paloma is dead. But before she was murdered, before she was even Paloma, she was a traditional healer named Gaspar. Before she was murdered, she taught her cousin Feliciana the secrets of the ceremonies known as veladas, and about the Language and the Book that unlock their secrets.

Sent to report on Paloma’s murder, Zoe meets Feliciana in the mountain village of San Felipe. There, the two women’s lives twist around each other in a danse macabre. Feliciana tells Zoe the story of her struggle to become an accepted healer in her community, and Zoe begins to understand the hidden history of her own experience as a woman, finding her way in a hostile environment shaped by and for men.

Weaving together two parallel narratives that mirror and refract one another, this extraordinary novel envisions the healer as storyteller and the writer as healer, and offers a generous and nuanced understanding of a world that can be at turns violent and exultant, cruel and full of hope.

“A story of the world’s repeated failure to control feminine power and the sheer magic of language itself. An enthralling, passionate story about secrets both holy and profane.” —Catherine Lacey, author of Pew and Nobody Is Ever Missing

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“She was the best mother in the world,” said Princes William and Harry at Diana’s 10-year memorial. “Entertaining and persuasive,” (Publishers Weekly) this is the first big book about the private Diana, the mother of two princes.

“Royal fans will devour this well-paced biography that gives new insight into the House of Windsor. You’ll tear through it by sundown and walk away thinking about the Princess of Wales and her two sons with new perspective .” –Men’s Journal

From the moments William and Harry are born into the House of Windsor, they become their young mother’s whole world. 

I’ve got two very healthy, strong boys. I realize how incredibly lucky I am, Diana reminds herself every morning. But even the Princess of Wales questions, Am I a good mother?  

Diana’s faced with a seemingly impossible challenge: one son destined to be King of England and another determined to find his own way.  She teaches them to honor royal tradition, even while daring to break it. 

“Sometimes I’d like a time machine…” Diana says as William and Harry grow up, never imagining they’d have less than a lifetime together. Even after she’s gone, her sons follow their mother’s lead—and her heart. As the years pass and William and Harry grow into adulthood and form families of their own, they carry on Diana’s name, her likeness, and her incomparable spirit.

“James Patterson applies his writerly skills to real-life history with novelistic style” (People) in this deeply personal and revealing biography of the world’s most storied family, from the world’s #1 bestselling author.

National bestselling author Lucy Burdette returns to Key West for another delectable dish of secrets, intrigue, and murder.

Peace and quiet are hard to find in bustling Key West, so Hayley Snow, food critic for Key Zest magazine, is taking the afternoon off for a tranquil lunch with a friend outside of town. As they are enjoying the wild beach and the lunch, she realizes that her husband Nathan’s dog, Ziggy, has disappeared. She follows his barking, to find him furiously digging at a shallow grave with a man’s body in it. Davis Jager, a local birdwatcher, identifies him as GG Garcia, a rabble-rousing Key West local and developer. Garcia was famous for over-development on the fragile Keys, womanizing, and refusing to follow city rules—so it’s no wonder he had a few enemies.

When Davis is attacked in the parking lot of a local restaurant after talking to Hayley and her dear friend, the octogenarian Miss Gloria, Hayley is slowly but surely drawn into the case. Hayley’s mother, Janet, has been hired to cater GG’s memorial service reception at the local Woman’s Club, using recipes from their vintage Key West cookbook—and Hayley and Miss Gloria sign on to work with her, hoping to cook up some clues by observing the mourners.

But the real clues appear when Hayley begins to study the old cookbook, as whispers of old secrets come to life, dragging the past into the present—with murderous results.

The memoirs of Mary Rodgers—writer, composer, Broadway royalty, and “a woman who tried everything.”

“What am I, bologna?” Mary Rodgers (1931–2014) often said. She was referring to being stuck in the middle of a talent sandwich: the daughter of one composer and the mother of another. And not just any composers. Her father was Richard Rodgers, perhaps the greatest American melodist; her son, Adam Guettel, a worthy successor. What that leaves out is Mary herself, also a composer, whose musical Once Upon a Mattress remains one of the rare revivable Broadway hits written by a woman.

Shy is the story of how it all happened: how Mary grew from an angry child, constrained by privilege and a parent’s overwhelming gift, to become not just a theater figure in her own right but also a renowned author of books for young readers (including the classic Freaky Friday) and, in a final grand turn, a doyenne of philanthropy and the chairman of the Juilliard School.

But in telling these stories—with copious annotations, contradictions, and interruptions from Jesse Green, the chief theater critic of The New York Times—Shy also tells another, about a woman liberating herself from disapproving parents and pervasive sexism to find art and romance on her own terms. Whether writing for Judy Holliday or Rin Tin Tin, dating Hal Prince or falling for Stephen Sondheim over a game of chess at thirteen, Rodgers grabbed every chance possible—and then some.

Both an eyewitness report from the golden age of American musical theater and a tale of a woman striving for a meaningful life, Shy is, above all, a chance to sit at the feet of the kind of woman they don’t make anymore—and never did. They make themselves.

Reminiscent of the works of Margaret Atwood, Shirley Jackson, and Octavia Butler, a biting social commentary from the acclaimed author of Lakewood that speaks to our times—a piercing dystopian novel about the unbreakable bond between a young woman and her mysterious mother, set in a world in which witches are real and single women are closely monitored.

Josephine Thomas has heard every conceivable theory about her mother’s disappearance. That she was kidnapped. Murdered. That she took on a new identity to start a new family. That she was a witch. This is the most worrying charge because in a world where witches are real, peculiar behavior raises suspicions and a woman—especially a Black woman—can find herself on trial for witchcraft.  

But fourteen years have passed since her mother’s disappearance, and now Jo is finally ready to let go of the past. Yet her future is in doubt. The State mandates that all women marry by the age of 30—or enroll in a registry that allows them to be monitored, effectively forfeiting their autonomy. At 28, Jo is ambivalent about marriage. With her ability to control her life on the line, she feels as if she has her never understood her mother more. When she’s offered the opportunity to honor one last request from her mother’s will, Jo leaves her regular life to feel connected to her one last time.

In this powerful and timely novel, Megan Giddings explores the limits women face—and the powers they have to transgress and transcend them. 

An arresting and one-of-a-kind memoir about the alternately exultant and harrowing trip growing up as a Black child desperate to create a clear reality for herself in this country

Written in a distinctive voice and filled with personality, humor, and pathos, Fruit Punch is a memoir unlike any other, from a one-of-a-kind millennial talent. Growing up in Dallas, Texas, in the nineties and early 2000s, Kendra Allen had a complicated, loving, and intense family life filled with desire and community but also undercurrents of violence and turmoil. “We equate suffering to perseverance and misinterpret the weight of shame,” she writes. As she makes her way through a world of obscureness, Kendra finds herself slowly discovering outlets to help navigate growing up and against the expected performance of being a young Black woman in the South—a complex interplay of race, class, and gender that proves to be ever-shifting ground.

Fruit Punch touches on everything from questions of beauty and how we form concepts of ourselves—as a small rebellion, young Kendra scratched a hole into every pair of stockings she was forced to wear—to what it means to grow up in her great uncle’s Southern Baptist church—with rules including “No uncrossed ankles” and “No questions.” Inflected by a powerful sense of place and touched by poetry, Fruit Punch is a stunning achievement—a memoir born of love and endurance, fight or flight, and what it means to be a witness, from a blisteringly honest and observant voice. 

NAMED A BEST BOOK OF THE SUMMER BY TIME, ELLE, USA TODAY, ENTERTAINMENT WEEKLY AND MORE

“Perhaps Hamid’s most remarkable work yet … an extraordinary vision of human possibility.” –Ayad Akhtar, author of Homeland Elegies

“Searing, exhilarating … reimagines Kafka’s iconic The Metamorphosis for our racially charged era.” Hamilton Cain, Oprah Daily

From the New York Times-bestselling author of Exit West, a story of love, loss, and rediscovery in a time of unsettling change.

One morning, a man wakes up to find himself transformed. Overnight, Anders’s skin has turned dark, and the reflection in the mirror seems a stranger to him. At first he shares his secret only with Oona, an old friend turned new lover. Soon, reports of similar events begin to surface. Across the land, people are awakening in new incarnations, uncertain how their neighbors, friends, and family will greet them.Some see the transformations as the long-dreaded overturning of the established order that must be resisted to a bitter end. In many, like Anders’s father and Oona’s mother, a sense of profound loss and unease wars with profound love. As the bond between Anders and Oona deepens, change takes on a different shading: a chance at a kind of rebirth–an opportunity to see ourselves, face to face, anew.

In Mohsin Hamid’s “lyrical and urgent” prose (O Magazine), The Last White Man powerfully uplifts our capacity for empathy and the transcendence over bigotry, fear, and anger it can achieve.

From T. J. English, the New York Times bestselling author of Havana Nocturne, comes the epic, scintillating narrative of the interconnected worlds of jazz and organized crime in 20th century America.

“[A] brilliant and courageous book.” —Dr. Cornel West

Dangerous Rhythms tells the symbiotic story of jazz and the underworld: a relationship fostered in some of 20th century America’s most notorious vice districts. For the first half of the century mobsters and musicians enjoyed a mutually beneficial partnership. By offering artists like Louis Armstrong, Earl “Fatha” Hines, Fats Waller, Duke Ellington, Billie Holiday, Lena Horne, and Ella Fitzgerald a stage, the mob, including major players Al Capone, Meyer Lansky, and Charlie “Lucky” Luciano, provided opportunities that would not otherwise have existed.

Even so, at the heart of this relationship was a festering racial inequity. The musicians were mostly African American, and the clubs and means of production were owned by white men. It was a glorified plantation system that, over time, would find itself out of tune with an emerging Civil Rights movement. Some artists, including Louis Armstrong, believed they were safer and more likely to be paid fairly if they worked in “protected” joints. Others believed that playing in venues outside mob rule would make it easier to have control over their careers.

Through English’s voluminous research and keen narrative skills, Dangerous Rhythms reveals this deeply fascinating slice of American history in all its sordid glory.