Gritty and magical, filled with mystery, poetry, and pain, Ivy Pochoda's voice recalls Richard Price, Junot Diaz, and even Alice Sebold, yet it's indelibly her own."-Dennis Lehane Summer in Red Hook, Brooklyn, a blue collar neighborhood where hipster gourmet supermarkets push against tired housing projects, and the East River opens into the bay. Bored and listless, fifteen-year-old June and Val are looking for some fun. Forget the boys, the bottles, the coded whistles. Val wants to do something wild and a little crazy: take a raft out onto the bay.But out on the water, as the bright light of day gives way to darkness, the girls disappear. Only Val will survive, washed ashore semi-conscious in the weeds.June's shocking disappearance will reverberate in the lives of a diverse cast of Red Hook residents. Fadi, the Lebanese bodega owner, trolls for information about the crime. Cree, just beginning to pull it together after his father's murder, unwittingly makes himself the chief suspect although an elusive guardian seems to have other plans for him. As Val emerges from the shadow of her missing friend, her teacher Jonathan, Julliard drop-out and barfly, will be forced to confront a past riddled with tragic sins of omission.In Visitation Street, Ivy Pochoda combines intensely vivid prose with breathtaking psychological insight to explore a cast of solitary souls, pulled by family, love, and betrayal, who yearn for a chance to escape, no matter the cost.

    But it’s what she leaves unsaid—she’s alone, a drinker, a former artist, a shrieker in bed, captain of the sinking ship that is her flesh—that feels the most true. Everyone around her seems to have an entirely different idea of what it means to be an adult: her best friend, Indigo, is getting married; her brother—who miraculously seems unscathed by their shared tumultuous childhood—and sister-in-law are having a hoped-for baby; and her friend Matthew continues to wholly devote himself to making dark paintings at the cost of being flat broke. But when Andrea’s niece finally arrives, born with a heartbreaking ailment, the Bern family is forced to reexamine what really matters. Will this drive them together or tear them apart? Told in gut-wrenchingly honest, mordantly comic vignettes, All Grown Up is a breathtaking display of Jami Attenberg’s power as a storyteller, a whip-smart examination of one woman’s life, lived entirely on her own terms.

    When she arrives at the famed Barbizon Hotel in 1952, secretarial school enrollment in hand, Darby McLaughlin is everything her modeling agency hall mates aren't: plain, self-conscious, homesick, and utterly convinced she doesn't belong—a notion the models do nothing to disabuse. Yet when Darby befriends Esme, a Barbizon maid, she's introduced to an entirely new side of New York City: seedy downtown jazz clubs where the music is as addictive as the heroin that's used there, the startling sounds of bebop, and even the possibility of romance. Over half a century later, the Barbizon's gone condo and most of its long-ago guests are forgotten. But rumors of Darby's involvement in a deadly skirmish with a hotel maid back in 1952 haunt the halls of the building as surely as the melancholy music that floats from the elderly woman's rent-controlled apartment. It's a combination too intoxicating for journalist Rose Lewin, Darby's upstairs neighbor, to resist—not to mention the perfect distraction from her own imploding personal life. Yet as Rose's obsession deepens, the ethics of her investigation become increasingly murky, and neither woman will remain unchanged when the shocking truth is finally revealed.

    Every relationship has two perspectives. And sometimes, it turns out, the key to a great marriage is not its truths but its secrets. At the core of this rich, expansive, layered novel, Lauren Groff presents the story of one such marriage over the course of twenty-four years.At age twenty-two, Lotto and Mathilde are tall, glamorous, madly in love, and destined for greatness. A decade later, their marriage is still the envy of their friends, but with an electric thrill we understand that things are even more complicated and remarkable than they have seemed.

    But instead of the abstract canvases of the Pollocks and Rothkos, he stubbornly hewed to painting one subject the female nude. When he died in 2001, he left behind a wife, Abigail, an autistic son, and a sister, Maxine, herself a notable abstract painter all duly noted in the New York Times obituary.What no one knows is that Oscar Feldman led an entirely separate life in Brooklyn with his longtime mistress, Teddy St. Cloud, and their twin daughters. As the incorrigibly bohemian Teddy puts it, "He couldn't live without a woman around. It was like water to a plant for him." Now two rival biographers, book contracts in hand, are circling around Feldman's life story, and each of these three women, Abigail, Maxine, and Teddy, will have a chance to tell the truth as they experienced it.The Great Man is a scintillating comedy of life among the avant-garde of the untidy truths, needy egos, and jostlings for position behind the glossy facade of artistic greatness. Not a pretty picture but a provocative and entertaining one that incarnates the take-no-prisoners satirical spirit of Dawn Powell and Mary McCarthy.

    She's a woman with an uncomplicated, sociable nature and an intellectual life.But in an impulsive and planned decision, Lorna has decided to leave her husband, a notorious tombeur (seducer), and his small ancestral village in France, and return to America, much more suited to her temperament than the rectitude of formal starchy France. For Lorna, a beautiful idyll is over, finished, done . . .In Lorna Mott Comes Home, Diane Johnson brings us into the dreamy, anxiety-filled American world of Lorna Mott Dumas, where much has changed and where she struggles to create a new life to support herself. Into the mix--her ex-husband, and the father of her three grown children (all supportive), and grandchildren with their own troubles (money, divorce, real estate, living on the fringe; a thriving software enterprise; a missing child in the far east; grandchildren--new hostages to fortune; and, one, 15 years old, a golden girl yet always different, diagnosed at a young age with diabetes, and now pregnant and determined to have the child) . . .In the midst of a large cast, the precarious balance of comedy and tragedy, happiness and anxiety, contentment and striving, generosity and greed, love and sex, Diane Johnson, our Edith Wharton of expat life, comes home to America to deftly, irresistibly portray, with the lightest of touch, the way we live now.

    In 1987, Miri Ammerman returns to her hometown of Elizabeth, New Jersey, to attend a commemoration of the worst year of her life.Thirty-five years earlier, when Miri was fifteen, and in love for the first time, a succession of airplanes fell from the sky, leaving a community reeling. Against this backdrop of actual events that Blume experienced in the early 1950s, when airline travel was new and exciting and everyone dreamed of going somewhere, Judy Blume imagines and weaves together a haunting story of three generations of families, friends, and strangers, whose lives are profoundly changed by these disasters. She paints a vivid portrait of a particular time and place — Nat King Cole singing “Unforgettable,” Elizabeth Taylor haircuts, young (and not-so-young) love, explosive friendships, A-bomb hysteria, rumors of Communist threat. And a young journalist who makes his name reporting tragedy. Through it all, one generation reminds another that life goes on.In the Unlikely Event is a gripping novel with all the hallmarks of Judy Blume's unparalleled storytelling.

    In this critically-acclaimed debut, Min Jin Lee tells not only Casey's story, but also those of her sheltered mother, scarred father, and friends both Korean and Caucasian, exposing the astonishing layers of a community clinging to its old ways and a city packed with struggling haves and have-nots.

    It tells the story of a mother and daughter who make their way west from Wisconsin, living off an ex-husband's credit card.

    With an unforgettable comic touch, Bank skillfully teases out issues of the heart, puts a new spin on the mating dance, and captures in perfect pitch what it's like to be a young woman coming of age in America today.

    Wry, profane, hilarious, and tragic, sometimes in a single line, Lush Life is his masterwork. I doubt anyone will write a novel this good for a long, long time." — Dennis Lehane"So, what do you do?" Whenever people asked him, Eric Cash used to have a dozen answers. Artist, actor, screenwriter… But now he's thirty-five years old and he's still living on the Lower East Side, still in the restaurant business, still serving the people he wanted to be. What does Eric do? He manages. Not like Ike Marcus. Ike was young, good-looking, people liked him. Ask him what he did, he wouldn't say tending bar. He was going places--until two street kids stepped up to him and Eric one night and pulled a gun. At least, that's Eric's version.In Lush Life, Richard Price tears the shiny veneer off the 'new' New York to show us the hidden cracks, the underground networks of control and violence beneath the glamour. Lush Life is an X-ray of the street in the age of no broken windows and "quality of life" squads, from a writer whose "tough, gritty brand of social realism…reads like a movie in prose." — Michiko Kakutani, The New York Times.

    Now comes a reissue of the best-selling debut novel that launched her remarkable career. St. Elizabeth's, a home for unwed mothers in Habit, Kentucky, usually harbors its residents for only a little while. Not so Rose Clinton, a beautiful, mysterious woman who comes to the home pregnant but not unwed, and stays. She plans to give up her child, thinking she cannot be the mother it needs. But when Cecilia is born, Rose makes a place for herself and her daughter amid St. Elizabeth's extended family of nuns and an ever-changing collection of pregnant teenage girls. Rose's past won't be kept away, though, even by St. Elizabeth's; she cannot remain untouched by what she has left behind, even as she cannot change who she has become in the leaving.

    For Margot, divorced amid scandal (hint: her husband was a fertility doctor) and then made Ponzi-poor, it’s a chance to shake Gwen out of her grief and help make ends meet. To further this effort she enlists a third boarder, the handsome, cupcake-baking Anthony. As the three swap money-making schemes and timid Gwen ventures back out into the dating world, the arrival of Margot’s paroled ex in the efficiency apartment downstairs creates not just complications but the chance for all sorts of unexpected forgiveness. A sister story about love, loneliness, and new life in middle age, this is a cracklingly witty, deeply sweet novel from one of our finest comic writers. “Her worldview? Her enthusiasm, her effortless wit? Just a few of the reasons we love Elinor Lipman.”–Boston Globe

    Among them: James Bennett, a synaesthetic art critic for The New York Times whose unlikely condition enables him to describe art in profound, magical ways, and Raul Engales, an exiled Argentinian painter running from his past and the Dirty War that has enveloped his country. As the two men ascend in the downtown arts scene, dual tragedies strike, and each is faced with a loss that acutely affects his relationship to life and to art. It is not until they are inadvertently brought together by Lucy Olliason—a small town beauty and Raul’s muse—and a young orphan boy sent mysteriously from Buenos Aires, that James and Raul are able to rediscover some semblance of what they’ve lost.As inventive as Jennifer Egan's A Visit From The Goon Squad and as sweeping as Meg Wolitzer's The Interestings, Tuesday Nights in 1980 boldly renders a complex moment when the meaning and nature of art is being all but upended, and New York City as a whole is reinventing itself. In risk-taking prose that is as powerful as it is playful, Molly Prentiss deftly explores the need for beauty, community, creation, and love in an ever-changing urban landscape.

    And though she's prepared to fight her way into an elitist boys' club, or duck the occasional errant football, she quickly realizes she's in over her head when she's relegated to a kiddie-size folding chair with her new moniker—Girlie—inscribed in Wite-Out across the back.No matter. She's determined to make it in bond sales at Cromwell Pierce, one of the Street's most esteemed brokerage firms. Keeping her eyes on the prize, the low Girlie on the totem pole will endure whatever comes her way—whether trekking to the Bronx for a $1,000 wheel of Parmesan cheese; discovering a secretary's secret Friday night slumber/dance party in the conference room; fielding a constant barrage of "friendly" practical jokes; learning the ropes from Chick, her unpredictable, slightly scary, loyalty-demanding boss; babysitting a colleague while he consumes the contents of a vending machine on a $28,000 bet; or eluding the advances of a corporate stalker who's also one of the firm's biggest clients.Ignoring her friends' pleas to quit, Alex excels (while learning how to roll with the punches and laugh at herself) and soon advances from lowly analyst to slightly-less-lowly associate. Suddenly, she's addressed by her real name, and the impenetrable boys' club has transformed into forty older brothers and one possible boyfriend. Then the apocalypse hits, and Alex is forced to choose between sticking with Cromwell Pierce as it teeters on the brink of disaster or kicking off her Jimmy Choos and running for higher ground.