Samuel Szajkowski, a recently hired history teacher, walked into a school assembly with a gun and murdered three students and a colleague before turning the weapon on himself. It was a tragedy that could not have been predicted. Szajkowski, it seems clear, was a psychopath beyond help. Yet as Detective Inspector Lucia May- the only woman in her high-testosterone office in the Criminal Investigations Department-begins to piece together the testimonies of the various witnesses, an uglier and more complex picture emerges, calling into question the innocence of others. But no one, including Lucia's boss, is interested. As the pressure to close the case builds and her colleagues' sexism takes a sinister turn, Lucia begins to realize that she has more in common with the killer than she could have imagined, and she becomes deter­mined to expose the truth. Brilliantly interweaving the witnesses' accounts with Lucia's own perspective, A Thousand Cuts is a narrative tour de force from a formidable new voice in fiction.

    The first section, Folly tells the story of Alice, a young American editor, and her relationship with the famous and much older writer Ezra Blazer. A tender and exquisite account of an unexpected romance that takes place in New York during the early years of the Iraq War, Folly also suggests an aspiring novelist’s coming-of-age. By contrast, Madness is narrated by Amar, an Iraqi-American man who, on his way to visit his brother in Kurdistan, is detained by immigration officers and spends the last weekend of 2008 in a holding room in Heathrow. These two seemingly disparate stories gain resonance as their perspectives interact and overlap, with yet new implications for their relationship revealed in an unexpected coda.A stunning debut from a rising literary star, Asymmetry is an urgent, important, and truly original work that will captivate any reader while also posing arresting questions about the very nature of fiction itself.

    I was wowed by Keane’s writing and narrative skill—and by what she knows about trouble.” —Stephen King How much can a family forgive? Francis Gleeson and Brian Stanhope, rookie NYPD cops, are neighbors in the suburbs. What happens behind closed doors in both houses—the loneliness of Francis’s wife, Lena, and the instability of Brian’s wife, Anne, sets the stage for the explosive events to come.In Mary Beth Keane's extraordinary novel, a lifelong friendship and love blossoms between Kate Gleeson and Peter Stanhope, born six months apart. One shocking night their loyalties are divided, and their bond will be tested again and again over the next thirty years. Heartbreaking and redemptive, Ask Again, Yes is a gorgeous and generous portrait of the daily intimacies of marriage and the power of forgiveness.

    Scarborough the novel employs a multitude of voices to tell the story of a tight-knit neighborhood under fire: among them, Victor, a black artist harassed by the police; Winsum, a West Indian restaurant owner struggling to keep it together; and Hina, a Muslim school worker who witnesses first-hand the impact of poverty on education.And then there are the three kids who work to rise above a system that consistently fails them: Bing, a gay Filipino boy who lives under the shadow of his father's mental illness; Sylvie, Bing's best friend, a Native girl whose family struggles to find a permanent home to live in; and Laura, whose history of neglect by her mother is destined to repeat itself with her father.Scarborough offers a raw yet empathetic glimpse into a troubled community that locates its dignity in unexpected places: a neighborhood that refuses to be undone.Catherine Hernandez is a queer theatre practitioner and writer who has lived in Scarborough off and on for most of her life. Her plays Singkil and Kilt Pins were published by Playwrights Canada Press, and her children's book M is for Mustache: A Pride ABC Book was published by Flamingo Rampant. She is the Artistic Director of Sulong Theatre for women of color.

    Karl is the brilliant but troubled vocalist, haunted by past violence and present danger, torn between chasing fame and desiring oblivion, between men and women, music and silence. David is the bass player with a record collection, struggling to make sense of Karl's unhinged reality. As the band make waves through London, Dublin and Amsterdam, with the obligatory drink, sex and blurred reality, Karl starts to come apart.

    Hall (Dexter, Six Feet Under) performs Truman Capote's provocative, naturalistic masterstroke about a young writer's charmed fascination with his unorthodox neighbor, the "American geisha" Holly Golightly. Holly--a World War II-era society girl in her late teens--survives via socialization, attending parties and restaurants with men from the wealthy upper class who also provide her with money and expensive gifts. Over the course of the novella, the seemingly shallow Holly slowly opens up to the curious protagonist, who eventually gets tossed away as her deepening character emerges.Breakfast at Tiffany's, Truman Capote's most beloved work of fiction, introduced an independent and complex character who challenged audiences, revived Audrey Hepburn's flagging career in the 1961 film version, and whose name and style has remained in the national idiom since publication. Hall uses his diligent attention to character to bring our unnamed narrator's emotional vulnerability to the forefront of this American classic.

    Fourteen-year-old Cindy and her two older brothers live in rural Pennsylvania, in a house with occasional electricity, two fierce dogs, one book, and a mother who comes and goes for months at a time. Deprived of adult supervision, the siblings rely on one another for nourishment of all kinds. As Cindy's brothers take on new responsibilities for her care, the shadow of danger looms larger and the status quo no longer seems tolerable. So when a glamorous teen from a more affluent, cultured home goes missing, Cindy escapes her own family's poverty and slips into the missing teen's life. As Jude Vanderjohn, Cindy is suddenly surrounded by books and art, by new foods and traditions, and most important, by a startling sense of possibility. In her borrowed life she also finds herself accepting the confused love of a mother who is constitutionally incapable of grasping what has happened to her real daughter. As Cindy experiences overwhelming maternal love for the first time, she must reckon with her own deceits and, in the process, learn what it means to be a daughter, a sister, and a neighbor. Marilou Is Everywhere is a powerful, propulsive portrait of an overlooked girl who finds for the first time that her choices matter.

    He is a man who appears to have everything: wealth, a beautiful wife and children, and a prestigious political career in Parliament. But his life lacks passion, and his aching emptiness drives him to an all-consuming, and ultimately catastrophic, relationship with his son’s fiancée.Chilling and brilliant, Damage is a masterpiece—a daring look at the dangers of obsession and the depth of its shattering consequences.

    . . . It was no ordinary murder. Though the torture and abuse that killed him were real, Andy Gage's death wasn't. Only his soul actually died, and when it died, it broke in pieces. Then the pieces became souls in their own right, coinheritors of Andy Gage's life. . . .While Andy deals with the outside world, more than a hundred other souls share an imaginary house inside Andy's head, struggling to maintain an orderly coexistence: Aaron, the father figure; Adam, the mischievous teenager; Jake, the frightened little boy; Aunt Sam, the artist; Seferis, the defender; and Gideon, who wants to get rid of Andy and the others and run things on his own.Andy's new coworker, Penny Driver, is also a multiple personality, a fact that Penny is only partially aware of. When several of Penny's other souls ask Andy for help, Andy reluctantly agrees, setting in motion a chain of events that threatens to destroy the stability of the house. Now Andy and Penny must work together to uncover a terrible secret that Andy has been keeping . . . from himself.

    Severin finds his ideal of voluptuous cruelty in the merciless Wanda von Dunajew. This is a passionate and powerful portrayal of one man's struggle to enlighten and instruct himself and others in the realm of desire. Published in 1870, the novel gained notoriety and a degree of immortality for its author when the word "masochism"—derived from his name—entered the vocabulary of psychiatry. This remains a classic literary statement on sexual submission and control.

    Since the death of his wife, Betsy, twelve years earlier, Harper has narrowed his world to working at the local railroad and raising his daughter, Shelly, the best way he knows how. Still wracked with sorrow over the loss of his life-long love and plagued by his role in a brutal, long-ago crime, he wants only to make amends for his past mistakes.Then one fall day, a train derails in Two Rivers, and amid the wreckage Harper finds an unexpected chance at atonement. One of the survivors, a pregnant fifteen-year-old girl with mismatched eyes and skin the color of blackberries, needs a place to stay. Though filled with misgivings, Harper offers to take Maggie in. But it isn't long before he begins to suspect that Maggie's appearance in Two Rivers is not the simple case of happenstance it first appeared to be.

    One of them is Francis Orme, who earns his livelihood as a living statue. When not practicing “inner and outer stillness,” Francis steals the cherished possessions of others to add to his private museum. The other tenants are equally as odd: his mother and father, who haven’t interacted in years; a man who continually sweats and cries; a recluse who prefers television to reality; and a woman who behaves like a dog. When Anna Tapp arrives among them she stirs their souls, bringing long forgotten memories to the surface–and arousing fears that this new resident intends to provoke a metamorphosis.

    From the author of the award-winning novel Let the Great World Spin and TransAtlantic comes an eponymous novella and three stories that range fluidly across time, tenderly exploring the act of writing and the moment of creation when characters come alive on the page; the lifetime consequences that can come from a simple act; and the way our lives play across the world, marking language, image and each other.Thirteen Ways of Looking is framed by two author’s notes, each dealing with the brutal attack the author suffered last year and strikes at the heart of contemporary issues at home and in Ireland, the author’s birth place.Brilliant in its clarity and deftness, this collection reminds us, again, why Colum McCann is considered among the very best contemporary writers.

    During an exceptionally hot summer, the young married couple move in, and Asa does her best to quickly adjust to their new rural lives, to their remoteness, to the constant presence of her in-laws and the incessant buzz of cicadas. While her husband is consumed with his job, Asa is left to explore her surroundings on her own: she makes trips to the supermarket, halfheartedly looks for work, and tries to find interesting ways of killing time.       One day, while running an errand for her mother-in-law, she comes across a strange creature, follows it to the embankment of a river, and ends up falling into a hole—a hole that seems to have been made specifically for her. This is the first in a series of bizarre experiences that drive Asa deeper into the mysteries of this rural landscape filled with eccentric characters and unidentifiable creatures, leading her to question her role in this world, and eventually, her sanity.

    His wife Mary spends every day on the sofa in his hospital room. He has never even met their young daughter. And he will never again see the friend and fellow soldier who didn't make it back home—and who narrates the novel. But on Christmas, the one day Mary is not at his bedside, Eden's re-ordered consciousness comes flickering alive. As he begins to find a way to communicate, some troubling truths about his marriage—and about his life before he went to war—come to the surface. Is Eden the same man he once was: a husband, a friend, a father-to-be? What makes a life worth living?