Disillusioned and loveless, a chain-smoking art history professor who spends her spare time singing in nightclubs and tending to her young daughter finds herself pursued by an erratic, would-be librettist.

    I am a tabula rasa, a blank sheet of paper, an unhatched egg. I have not yet become a woman, although I possess a woman's shape. Not a woman, no: both more and less than a real woman. Now I am a being as mythic and monstrous as Mother herself . . . 'New York has become the City of Dreadful Night where dissolute Leilah performs a dance of chaos for Evelyn. But this young Englishman's fate lies in the arid desert, where a many-breasted fertility goddess will wield her scalpel to transform him into the new Eve.

    That time is the period between the two World Wars, and Barnes' novel unfolds in the decadent shadows of Europe's great cities, Paris, Berlin, and Vienna—a world in which the boundaries of class, religion, and sexuality are bold but surprisingly porous. The outsized characters who inhabit this world are some of the most memorable in all of fiction—there is Guido Volkbein, the Wandering Jew and son of a self-proclaimed baron; Robin Vote, the American expatriate who marries him and then engages in a series of affairs, first with Nora Flood and then with Jenny Petherbridge, driving all of her lovers to distraction with her passion for wandering alone in the night; and there is Dr. Matthew-Mighty-Grain-of-Salt-Dante-O'Connor, a transvestite and ostensible gynecologist, whose digressive speeches brim with fury, keen insights, and surprising allusions. Barnes' depiction of these characters and their relationships (Nora says, "A man is another person—a woman is yourself, caught as you turn in panic; on her mouth you kiss your own") has made the novel a landmark of feminist and lesbian literature. Most striking of all is Barnes' unparalleled stylistic innovation, which led T. S. Eliot to proclaim the book "so good a novel that only sensibilities trained on poetry can wholly appreciate it." Now with a new preface by Jeanette Winterson, Nightwood still crackles with the same electric charge it had on its first publication in 1936.

    Uprooted from her backwoods home, she and her family are thrust into the confusion and chaos of wartime Detroit. And in a pitiless world of unendurable poverty, Gertie will battle fiercely and relentlessly to protect those things she holds most dear -- her children, her heritage . . . and her triumphant ability to create beauty in the suffocating shadow of ugliness and despair.

     The Andreas family is one of readers. Their father, a renowned Shakespeare professor who speaks almost entirely in verse, has named his three daughters after famous Shakespearean women. When the sisters return to their childhood home, ostensibly to care for their ailing mother, but really to lick their wounds and bury their secrets, they are horrified to find the others there. See, we love each other. We just don't happen to like each other very much. But the sisters soon discover that everything they've been running from-one another, their small hometown, and themselves-might offer more than they ever expected.

    David's voice is perfectly calibrated, disarmingly funny, sad, shrewd, gathering force from page to page with an emotional directness that never lapses into sentimentality. Through it we share his awkward, painful, universally recognizable encounter with first love, we participate in boy evangelist Bobbie Lee Taylor's revival, we meet the pious, bigoted townspeople. From the opening lines of The Neon Bible, David is fully alive, naive yet sharply observant, drawing us into his world through the sure artistry of John Kennedy Toole.John Kennedy Toole, who won a posthumous Pulitzer Prize for his best-selling comic masterpiece A Confederacy of Dunces, wrote The Neon Bible for a literary contest at the age of sixteen. The manuscript languished in a drawer and became the subject of a legal battle among Toole's heirs. It was only in 1989, thirty-five years after it was written and twenty years after Toole's suicide at thirty-one, that this amazingly accomplished and evocative novel was freed for publication.

    Elisabeth, born in 1984, has her eye on the future. The United Kingdom is in pieces, divided by a historic once-in-a-generation summer.Love is won, love is lost. Hope is hand in hand with hopelessness. The seasons roll round, as ever...

    She is caught off-guard by a young hunter who invades her most private spaces and confounds her self-assured, solitary life. On a farm several miles down the mountain, Lusa Maluf Landowski, a bookish city girl turned farmer's wife, finds herself unexpectedly marooned in a strange place where she must declare or lose her attachment to the land that has become her own. And a few more miles down the road, a pair of elderly feuding neighbors tend their respective farms and wrangle about God, pesticides, and the possibilities of a future neither of them expected.Over the course of one humid summer, these characters find their connections to one another and to the flora and fauna with whom they share a place. Prodigal Summer demonstrates a balance of narrative, drama and ideas that is characteristic of Barbara Kingsolver's finest work.

    A college student and aspiring writer, she devotes herself to a life of the mind--and to the beautiful and endlessly self-possessed Bobbi, her best friend and comrade-in-arms. Lovers at school, the two young women now perform spoken-word poetry together in Dublin, where a journalist named Melissa spots their potential. Drawn into Melissa's orbit, Frances is reluctantly impressed by the older woman's sophisticated home and tall, handsome husband. Private property, Frances believes, is a cultural evil--and Nick, a bored actor who never quite lived up to his potential, looks like patriarchy made flesh. But however amusing their flirtation seems at first, it gives way to a strange intimacy neither of them expect. As Frances tries to keep her life in check, her relationships increasingly resist her control: with Nick, with her difficult and unhappy father, and finally even with Bobbi. Desperate to reconcile herself to the desires and vulnerabilities of her body, Frances's intellectual certainties begin to yield to something new: a painful and disorienting way of living from moment to moment.Written with gem-like precision and probing intelligence, Conversations With Friends is wonderfully alive to the pleasures and dangers of youth."

    It is 1930, the midst of the Great Depression. After her mysterious role in a family tragedy, passionate, strong-willed Thea Atwell, age fifteen, has been cast out of her Florida home, exiled to an equestrienne boarding school for Southern debutantes. High in the Blue Ridge Mountains, with its complex social strata ordered by money, beauty, and girls’ friendships, the Yonahlossee Riding Camp for Girls is a far remove from the free-roaming, dreamlike childhood Thea shared with her twin brother on their family’s citrus farm—a world now partially shattered. As Thea grapples with her responsibility for the events of the past year that led her here, she finds herself enmeshed in a new order, one that will change her sense of what is possible for herself, her family, her country.Weaving provocatively between home and school, the narrative powerfully unfurls the true story behind Thea’s expulsion from her family, but it isn’t long before the mystery of her past is rivaled by the question of how it will shape her future. Part scandalous love story, part heartbreaking family drama, The Yonahlossee Riding Camp for Girls is an immersive, transporting page-turner—a vivid, propulsive novel about sex, love, family, money, class, home, and horses, all set against the ominous threat of the Depression—and the major debut of an important new writer.

    Glaciers follows Isabel through a day in her life in which work with damaged books in the basement of a library, unrequited love for the former soldier who fixes her computer, and dreams of the perfect vintage dress move over a backdrop of deteriorating urban architecture and the imminent loss of the glaciers she knew as a young girl in Alaska.Glaciers unfolds internally, the action shaped by Isabel’s sense of history, memory, and place, recalling the work of writers such as Jean Rhys, Marguerite Duras, and Virginia Woolf. For Isabel, the fleeting moments of one day can reveal an entire life. While she contemplates loss and the intricate fissures it creates in our lives, she accumulates the stories—the remnants—of those around her and she begins to tell her own story.

    Paula recalls her contented childhood, the audacity she learned as a teenager, the exhilaration of her romance with Charlo, and the marriage to him that left her feeling powerless. Capturing both her vulnerability and her strength, Roddy Doyle gives Paula a voice that is real and unforgettable.

    But life comes with expectations, there are choices to be made, boxes to tick and – sometimes – stereotypes to fulfil. And when her best friends’ lives start to branch away towards marriage and motherhood, leaving the path they’ve always followed together, Olive starts to question her choices – because life according to Olive looks a little bit different.Moving, memorable and a mirror for every woman at a crossroads, OLIVE has a little bit of all of us. Told with great warmth and nostalgia, this is a modern tale about the obstacle course of adulthood, milestone decisions and the ‘taboo’ about choosing not to have children.

    Best friends and artistic partners since the first week of college, where they bonded over their working-class roots and obvious talent, they spent their twenties ensconced in a gritty Brooklyn studio. Working, drinking, laughing. Drawing: Mel, to understand her tumultuous past, and Sharon, to lose herself altogether.Now, after a decade of striving, the two are finally celebrating the release of their first full-length feature, which transforms Mel’s difficult childhood into a provocative and visually daring work of art. The toast of the indie film scene, they stand at the cusp of making it big. But with their success come doubt and destruction, cracks in their relationship threatening the delicate balance of their partnership. Sharon begins to feel expendable, suspecting that the ever-more raucous Mel is the real artist. During a trip to Sharon’s home state of Kentucky, the only other partner she has ever truly known—her troubled, charismatic childhood best friend, Teddy—reenters her life, and long-buried resentments rise to the surface, hastening a reckoning no one sees coming.

    At thirty-five, Mary Frazier Armstrong, called "Frazier" by friends and enemies alike, is a sophisticated woman with a thriving art gallery, a healthy bank balance, and an enviable social position.  In fact, she has everything to live for, but she's lying in a hospital bed with a morphine drip in her arm and a life expectancy measured in hours.  "Don't die a stranger," her assistant says on her last hospital visit.  "Tell the people you love who you are."  And so, as her last act on earth, Frazier writes letters to her closest family and friends, telling them exactly what she thinks of them and, since she will be dead by the time they receive the letters, the truth about herself: she's gay.The letters are sent.  Then the manure hits the fan in Charlottesville, Virginia, because the funny thing is, Frazier Armstrong isn't going to die after all.