After a childhood moving from one academic outpost to another with her father (a man prone to aphorisms and meteoric affairs), Blue is clever, deadpan, and possessed of a vast lexicon of literary, political, philosophical, and scientific knowledge—and is quite the cineaste to boot. In her final year of high school at the elite (and unusual) St. Gallway School in Stockton, North Carolina, Blue falls in with a charismatic group of friends and their captivating teacher, Hannah Schneider. But when the drowning of one of Hannah's friends and the shocking death of Hannah herself lead to a confluence of mysteries, Blue is left to make sense of it all with only her gimlet-eyed instincts and cultural references to guide—or misguide—her.

    THIS CAN'T BE LIFE is Dana Ward's first full-length collection of poetry. Although some of this writing may look like prose, everything here is written both AS, and under the sign of, "poetry." THIS CAN'T BE LIFE is an infinite frame-dissolve between art and life engined by the thoughts and feelings associated with the relationship between mortality and politics. These things, working together and against one another, constitute the funeral fun-house physics which delimit the (temporary) reality in which the book operates. Following Notley and Kerouac, Ward's poetics is a generative problematics of voice in which "the counter-poised figures of porousness, multiplicity, & instability are first principals."

    She had a play that was to be produced at the New York International Fringe Festival and a job waiting for her at the New Yorker. Tragically, five days after graduation, Marina died in a car crash.As her family, friends, and classmates, deep in grief, joined to create a memorial service for Marina, her unforgettable last essay for the Yale Daily News, “The Opposite of Loneliness,” went viral, receiving more than 1.4 million hits. She had struck a chord.Even though she was just twenty-two when she died, Marina left behind a rich, expansive trove of prose that, like her title essay, captures the hope, uncertainty, and possibility of her generation. The Opposite of Loneliness is an assem­blage of Marina’s essays and stories that, like The Last Lecture, articulates the universal struggle that all of us face as we figure out what we aspire to be and how we can harness our talents to make an impact on the world.

    Alone in this knowledge, he comes of age in rural Maine grappling with the question: Does anything I do matter? While the voice that has accompanied him since conception appraises his choices, Junior's loved ones emerge with parallel stories-his anxious mother; his brother, a cocaine addict turned pro-baseball phenomenon; his exalted father, whose own mortality summons Junior's best and worst instincts; and Amy, the love of Junior's life and a North Star to his journey through romance and heartbreak, drug-addled despair, and superheroic feats that could save humanity. While our recognizable world is transformed into a bizarre nation at endgame, where government agents conspire in subterranean bunkers, preparing citizens for emigration from a doomed planet, Junior's final triumph confounds all expectation, building to an astonishing and deeply moving resolution. Ron Currie, Jr., gets to the heart of character, and the voices who narrate this uniquely American tour de force leave an indelible, exhilarating impression.

    She worries about her children, her dead parents, African elephants, the bedroom rituals of “happy couples”, Weapons of Mass Destruction, and how to hatch an abandoned wood pigeon egg. Is there some trick to surviving survivalists? School shootings? Medical debts? Franks ’n’ beans?A scorching indictment of America’s barbarity, past and present, and a lament for the way we are sleepwalking into environmental disaster, Ducks, Newburyport is a heresy, a wonder—and a revolution in the novel.It’s also very, very funny.

    Two years later, Rosie returns to the house and living there is Martha, whom Seb Gennaro married less than a year after the death of Rosie’s mother. Martha is struggling to fulfil Seb’s dream, while Rosie is coming to terms with new responsibilities. And so begins a stand-off between two women who refuse to move out of the home they both lay claim to.As the battle lines are drawn, Jimmy Hailler re-enters Rosie’s life. Having always watched other families from the perimeters, he’s now grappling, heartbreakingly, with forming one of his own . . .An unforgettable story about losing love and finding love; about the interconnectedness of lives and the true nature of belonging, from one of our most acclaimed writers.

    Cherry and Kandi Steiner come together for the first time in an emotional compilation of poetry and prose. Written and collected over the course of more than two years, A Love Letter from the Girls Who Feel Everything is an intimate, honest, and raw assemblage of two women’s feelings in a modern world that often quiets any kind of emotion past indifference. Discussing themes of love, worth, loss and hope, A Love Letter from the Girls Who Feel Everything is a journey of discovery and healing. “We are the girls who feel everything.And this is our love letter. To you, to them, to us, to the world, to no one at all. Whether it’s the brightest, sunniest day where everything is perfect, or the darkest, dreariest night of rain where life seems unbearable — we have lived it, we have survived it, and we have felt every, blissful, aching second.Here’s to embracing the feels, to the brave souls that listen to the way their hearts beat and aren’t afraid to ask someone else if they feel those same beats, too. Here’s to the girls, the boys, the love we sometimes share and the love we all-too-often conceal.And more than anything, Reader — here’s to you.”

    In verse that deals with sexual assault, mental illness, and body acceptance, Ms. Lambert's Shame Is an Ocean I Swim Across emerges as an important new voice in poetry, providing strength and resilience even in the darkest of times.

    Plum, her debut for Picador Poetry, is a wise, sometimes rude and piercingly candid account of her memories from childhood to attempted adulthood. This is a book about growing up, about guilt, flesh, fruit, friendships, work and play - and the urgent need to find a voice for the poems that will somehow do the whole glorious riot of it justice.Throughout Plum, McNish allows her recent poems to be interrupted by earlier writing from her younger selves – voices that speak out from the past with disarming and often very funny results. Plum is a celebration, a salute to a life in which we are always growing, tripping, changing and discovering new selves to add to our own messy stores. It will leave the reader in no doubt as to why McNish is considered one of the most important poets of the new generation.Praise for Hollie McNish‘She writes with honesty, conviction, humour and love. She points out the absurdities we've grown too used to and lets us see the world with fresh eyes’ Kate Tempest'Her rhymes have a driving quality, urgent words pinning down fleeting feelings' Observer

    Compiled by her sister after the poet's death and originally published in 1956, this is the definitive edition of Millay, right up through her last poem, Mine the Harvest.

    She is the cornerstone of her family, a true matriarch...until she commits suicide, leaving her husband Brady and teenage daughter Eve heartbroken and reeling, wondering what happened. How could the exuberant, exacting woman they loved disappear so abruptly, seemingly without reason, from their lives? How they can possibly continue without her? As they sift through details of her last days, trying to understand the woman they thought they knew, Brady and Eve are forced to come to terms with unsettling truths.Maddy, however, isn’t ready to leave her family forever. Watching from beyond, she tries to find the perfect replacement for herself. Along comes Rory: pretty, caring, and spontaneous, with just the right bit of edge...but who also harbors a tragedy of her own. Will the mystery of Maddy ever come to rest? And can her family make peace with their history and begin to heal?

    A ferocious riff on women in superhero comics.A series of linked stories from the points of view of the wives and girlfriends of superheroes, female heroes, and anyone who’s ever been “refrigerated”: comic book women who are killed, raped, brainwashed, driven mad, disabled, or had their powers taken so that a male superhero’s storyline will progress.

    Caliban to King Kong, Edgar Allan Poe’s stories, the films of David Lynch, Beauty and the Beast, The Wizard of Oz, E.T., Richard Yates’s domestic realism, B-horror movies, and the fairy tales of Angela Carter—how such a short novel could contain all of these disparate elements is a testament to its startling and singular charm.

    Despite a successful career as a writer, and an exciting life in New York City, Glynnis was constantly reminded she had neither of the things the world expected of a woman her age: a partner or a baby. She knew she was supposed to feel bad about this. After all, single women and those without children are often seen as objects of pity, relegated to the sidelines, or indulgent spoiled creatures who think only of themselves.Glynnis refused to be cast into either of those roles and yet the question remained: What now? There was no good blueprint for how to be a woman alone in the world. She concluded it was time to create one.Over the course of her fortieth year, which this memoir chronicles, Glynnis embarks on a revealing journey of self-discovery that continually contradicts everything she’d been led to expect. Through the trials of family illness and turmoil, and the thrills of far-flung travel and adventures with men, young and old (and sometimes wearing cowboy hats), she is forced to wrestle with her biggest hopes and fears about love, death, sex, friendship, and loneliness. In doing so, she discovers that holding the power to determine her own fate requires a resilience and courage that no one talks about, and is more rewarding than anyone imagines.Intimate and timely, No One Tells You This is a fearless reckoning with modern womanhood and an exhilarating adventure that will resonate with anyone determined to live by their own rules.

    Decades later she found her old diaries in a storage bin, and hoped to discover the early evidence of the person (and writer) she’d since become. Instead, “The actual diaries revealed me to possess the mind of a paranoid tax auditor.”     Thus was born a desire to try again, to chronicle her daily life as a fortysomething woman, wife, mother, and writer. The dazzling result is The Folded Clock, in which the diary form becomes a meditation on time and self, youth and aging, betrayal and loyalty, friendship and romance, faith and fate, marriage and family, desire and death, gossip and secrets, art and ambition.     The Folded Clock is as playful as it is brilliant, a tour de force by one of the most gifted prose stylists in American letters.