Junius Booth--breadwinner, celebrated Shakespearean actor, and master of the house in more ways than one--is at once a mesmerizing talent and a man of terrifying instability. One by one the children arrive, as year by year, the country draws frighteningly closer to the boiling point of secession and civil war.As the tenor of the world shifts, the Booths emerge from their hidden lives to cement their place as one of the country's leading theatrical families. But behind the curtains of the many stages they have graced, multiple scandals, family triumphs, and criminal disasters begin to take their toll, and the solemn siblings of John Wilkes Booth are left to reckon with the truth behind the destructively specious promise of an early prophecy.Booth is a startling portrait of a country in the throes of change and a vivid exploration of the ties that make, and break, a family.

    When she meets Max, a beguiling romantic hero who tells her on date one that he's going to marry her, it feels like all is going to plan.A new relationship couldn't have come at a better time - her thirties have not been the liberating, uncomplicated experience she was sold. Everywhere she turns, she is reminded of time passing and opportunities dwindling. Friendships are fading, ex-boyfriends are moving on and, worse, everyone's moving to the suburbs. There's no solace to be found in her family, with a mum who's caught in a baffling mid-life makeover and a beloved dad who is vanishing in slow-motion into dementia.Dolly Alderton's debut novel is funny and tender, filled with whip-smart observations about relationships, family, memory, and how we live now.

    Gordon Comstock has declared war on the money god; and Gordon is losing the war. Nearly 30 and "rather moth-eaten already," a poet whose one small book of verse has fallen "flatter than any pancake," Gordon has given up a "good" job and gone to work in a bookshop at half his former salary. Always broke, but too proud to accept charity, he rarely sees his few friends and cannot get the virginal Rosemary to bed because (or so he believes), "If you have no money ... women won't love you." On the windowsill of Gordon's shabby rooming-house room is a sickly but unkillable aspidistra--a plant he abhors as the banner of the sort of "mingy, lower-middle-class decency" he is fleeing in his downward flight.In Keep the Aspidistra Flying, George Orwell has created a darkly compassionate satire to which anyone who has ever been oppressed by the lack of brass, or by the need to make it, will all too easily relate. He etches the ugly insanity of what Gordon calls "the money-world" in unflinching detail, but the satire has a second edge, too, and Gordon himself is scarcely heroic. In the course of his misadventures, we become grindingly aware that his radical solution to the problem of the money-world is no solution at all--that in his desperate reaction against a monstrous system, he has become something of a monster himself. Orwell keeps both of his edges sharp to the very end--a "happy" ending that poses tough questions about just how happy it really is. That the book itself is not sour, but constantly fresh and frequently funny, is the result of Orwell's steady, unsentimental attention to the telling detail; his dry, quiet humor; his fascination with both the follies and the excellences of his characters; and his courageous refusal to embrace the comforts of any easy answer.

    He's funny, clever and popular - anybody would think he'd be relishing the prospect. But Kit is harbouring a dark foreboding he dare not share with anyone else. It's with a heavy heart that he leaves home to begin a new life in Sheffield.At the vast and alienating Ranmoor Halls of Residence he meets Jinty, a psychology student who's six years older than Kit and much more worldly wise. She's posh, confident and independent - and she becomes more and more fascinated by Kit. When he wants to be he's the life and soul of the party - and there are lots of parties, lots of sex, lots of very bad behaviour. He's naughty, witty and compassionate and everyone wants to be his friend. But more often than not Kit withholds that friendship and retreats from the gang.The gang includes Benny Bull, a pathological liar from Dudley who associates with drug dealers, car-jackers, Al-Quaida and the I.R.A. (if only in his head). There's Adrian Dangerous, an achievement-driven fitness fanatic from Kent who has to get a First. Alex is a ballsy exchange student from Memphis who's utterly at ease with her unorthodox looks - and keen to stress that carrots have feelings, too. Laid-back Simon from the Peak District wants nothing more than to get by, start a band and find that mythic mushroom field at Whitehood Hall. Petra from Stirling wants nothing more than Kit - although Kit, tragically, seems to see her more as a mate. The object of his affections is Colette - yet whenever Kit gets close to her, something seems to hold him back. Jinty, and the experience of surviving away from home for the first time in his life, help him confront himself and beat his demons.Freshers is a rich, insightful and exuberant novel about getting wise and growing up.

    HOW FAR WOULD YOU GO TO SAVE YOUR FAMILY?As soon as Gail and Jon Durbin bring home their adopted baby Maya, she becomes the glue that mends their fractured marriage. But the Durbin’s social worker, Paige, can’t find the teenage birth mother to sign the consent forms. By law, Carli has seventy-two hours to change her mind. Without her signature, the adoption will unravel. Carli is desperate to pursue her dreams, so giving her baby a life with the Durbins seems like the right choice – until her own mother throws down an ultimatum. Soon Carli realizes how few choices she has. As the hours tick by, Paige knows that the Durbins’ marriage won’t survive the loss of Maya, but everyone’s life is shattered when they—and baby Maya—disappear without a trace. Filled with heartrending turns, Other People’s Children is a riveting page-turner you’ll find impossible to put down.

    He does not know that a query from a Mrs Tina Hopgood about a world-famous antiquity in his museum is about to alter the course of his life.Oceans apart, an unexpected correspondence flourishes as they discover shared passions: for history and nature; for useless objects left behind by loved ones; for the ancient and modern world, what is lost in time, what is gained and what has stayed the same. Through intimate stories of joy, anguish, and discovery, each one bares their soul to the other. But when Tina's letters suddenly cease, Anders is thrown into despair. Can this unlikely friendship survive?

    But when Greg is diagnosed with a rare and aggressive form of cancer, the sense of certainty they once knew evaporates. Throughout their town, friends and neighbors face the most difficult of life’s challenges and are figuring out how to survive thanks to love, grace, and hope. “A quietly powerful portrait of small-town life…told with wisdom and tenderness” (Mary Beth Keane, author of Ask Again, Yes) A Little Hope is a deeply resonant debut that immerses the reader in a community and celebrates the importance of small moments of connection.

    When a man is swept away by the river in the early hours of Shrove Saturday, an explanation has to be found: accident, suicide or murder? The village priest, John Reve, is privy to many secrets in his role as confessor. But will he be able to unravel what happened to the victim, Thomas Newman, the wealthiest, most capable and industrious man in the village? And what will happen if he can’t?Moving back in time towards the moment of Thomas Newman’s death, the story is related by Reve – an extraordinary creation, a patient shepherd to his wayward flock, and a man with secrets of his own to keep. Through his eyes, and his indelible voice, Harvey creates a medieval world entirely tangible in its immediacy.

    A fox makes its way across Waterloo Bridge. The distraction causes two pedestrians to collide--Jean, an American studying the habits of urban foxes, and Attila, a Ghanaian psychiatrist there to deliver a keynote speech. From this chance encounter, Aminatta Forna's unerring powers of observation show how in the midst of the rush of a great city lie numerous moments of connection.Attila has arrived in London with two tasks: to deliver a keynote speech on trauma, as he has done many times before; and to contact the daughter of friends, his "niece" who hasn't called home in a while. Ama has been swept up in an immigration crackdown, and now her young son Tano is missing.When, by chance, Attila runs into Jean again, she mobilizes the network of rubbish men she uses as volunteer fox spotters. Security guards, hotel doormen, traffic wardens--mainly West African immigrants who work the myriad streets of London--come together to help. As the search for Tano continues, a deepening friendship between Attila and Jean unfolds.Meanwhile a consulting case causes Attila to question the impact of his own ideas on trauma, the values of the society he finds himself in, and a grief of his own. In this delicate tale of love and loss, of cruelty and kindness, Forna asks us to consider the interconnectedness of lives, our co-existence with one another and all living creatures, and the true nature of happiness.

    She leaves the kids tucked up in their beds and goes downstairs. There's a man in her kitchen, holding a knife. But it's not an intruder. This is her husband Marc, the father of her children. A man she no longer recognises.Once their differences were what drew them together, what turned them on. Him, the ex-army officer from a good family. Her, the fitness instructor who grew up over a pub. But now these differences grate to the point of drawing blood. Marc screams in his sleep. And Debs hardly knows the person she's become, or why she lets him hurt her.Neither of them is completely innocent. Neither is totally guilty. Marc is taller, stronger, and more vicious, haunted by a war he can't forget. But he has no idea what Debs is capable of when her children's lives are at stake...