At the stroke of midnight she will turn nineteen, and the year ahead promises to be one of consequence. Should she go to London to study economics, or remain at home in Brooklyn to pursue her passion for music and be with her boyfriend? As the countdown to the New Year begins, Oona faints and awakens thirty-two years in the future in her fifty-one-year-old body. Greeted by a friendly stranger in a beautiful house she’s told is her own, Oona learns that with each passing year she will leap to another age at random. And so begins Oona Out of Order...Hopping through decades, pop culture fads, and much-needed stock tips, Oona is still a young woman on the inside but ever changing on the outside. Who will she be next year? Philanthropist? Club Kid? World traveler? Wife to a man she’s never met? Surprising, magical, and heart-wrenching, Margarita Montimore has crafted an unforgettable story about the burdens of time, the endurance of love, and the power of family.

    On the domestic front, meat is rationed, children participate in metal drives, and Tommy Dorsey and Glenn Miller play songs that offer hope and lift spirits. And now the Heaney sisters sit at their kitchen table every evening to write letters–Louise to her fiancé, Kitty to the man she wishes fervently would propose, and Tish to an ever-changing group of men she meets at USO dances. In the letters the sisters send and receive are intimate glimpses of life both on the battlefront and at home. For Kitty, a confident, headstrong young woman, the departure of her boyfriend and the lessons she learns about love, resilience, and war will bring a surprise and a secret, and will lead her to a radical action for those she loves. The lifelong consequences of the choices the Heaney sisters make are at the heart of this superb novel about the power of love and the enduring strength of family.From the Hardcover edition.

    In Bookforum, James Greer called it ambitious in a way few works of fiction are. This summer it is being republished in an all-new Harper Perennial trade paperback, significantly revised by the author, and including an extensive P.S. section including never before published outtakes, an interview with the author, and a new essay by Zambreno.Zambreno's heroine, Ruth, is a young American in London, kin to Jean Seberg gamines and contemporary celebutantes, by day spritzing perfume at the department store she calls Horrids, by night trying desperately to navigate a world colored by the unwanted gaze of others and the uncertainty of her own self-regard. Ruth, the green girl, joins the canon of young people existing in that important, frightening, and exhilarating period of drift and anxiety between youth and adulthood, and her story is told through the eyes of one of the most surprising and unforgettable narrators in recent fiction—a voice at once distanced and maternal, indulgent yet blackly funny. And the result is a piercing yet humane meditation on alienation, consumerism, the city, self-awareness, and desire, by a novelist who has been compared with Jean Rhys, Virginia Woolf, and Elfriede Jelinek.

    His brother is fighting in Vietnam. His embattled parents are locked in a never-ending war. And his best friend, Connor, is struggling with his own family issues. To find relief from the chaos, Lucas takes long, meandering walks, and one day he veers into the woods.There he discovers an isolated cabin and two huge dogs. Frightened, he runs. And the dogs run with him. Lucas finds unusual peace in running with the dogs, and eventually he meets their owner, Zoe Dinsmore. Closed off and haunted by a tragic past, Zoe has given up. She doesn’t want to be saved. She wants out. But Lucas doesn’t want her to go, and he sees an opportunity to bring more than one friend back into the light. It’s either the best or worst idea he’s ever had, but Lucas isn’t giving up on Zoe or Connor.Their unexpected connection might be the saving grace that Zoe thought she’d lost, that Connor needs, and that Lucas has been running toward.

    An occasional chambermaid, granddaughter to a typesetter, and daughter to a dead man, awkward and brave, wayward and willful, she is in love (unrequited) with an Iraq War veteran thirteen years her senior. She is convinced that she is a mermaid. What she does to ease the pain of growing up lands her in prison. What she does to get out is the stuff of legend. In the words of writer Michelle Tea, The Seas is "creepy and poetic, subversive and strangely funny, [and] a phenomenal piece of literature."

    She’s the kind of girl who sits alone at lunch, drawing pictures of Spider-Man, so she won’t have to talk to anyone; who has a crush on Titus but won’t do anything about it; who has no one to hang out with when her best (and only real) friend Katya is busy.One day, Gretchen wishes that she could be a fly on the wall in the boys’ locker room–just to learn more about guys. What are they really like? What do they really talk about? Are they really cretins most of the time?Fly on the Wall is the story of how that wish comes true.

    It's not just Tom that Dido falls for, though: it's also his precocious sister, Harry, and their fastidious, controlling mother, Angela. Because Angela is everything that Edie—Dido's own mother—is not. And the Trevelyans are exactly the kind of family Dido dreams of: Normal.Dido wants to be normal more than anything else in the world. But it's the very thing that Edie can never be, as Dido—and the Trevelyans, including Dido's beloved Tom—will eventually learn the hard way.Like the very best families, Joanna Nadin's The Queen of Bloody Everything is funny, warm, tender and heartbreaking in equal measure. Part love story, it's ultimately about mothers and daughters: about realizing, however long it takes, that family might be what you make it, but you can't change where you come from.

    Especially after the strangest thing occurs one otherwise ordinary afternoon: She witnesses a couple kiss and is overcome with a vision of how their romance began . . . and how it will end. After all, even the greatest love stories end with a broken heart, eventually.As Evie tries to understand why this is happening, she finds herself at La Brea Dance Studio, learning to waltz, fox-trot, and tango with a boy named X. X is everything that Evie is not: adventurous, passionate, daring. His philosophy is to say yes to everything--including entering a ballroom dance competition with a girl he's only just met.Falling for X is definitely not what Evie had in mind. If her visions of heartbreak have taught her anything, it's that no one escapes love unscathed. But as she and X dance around and toward each other, Evie is forced to question all she thought she knew about life and love. In the end, is love worth the risk?

    Lucy is the wrong side of thirty and tormented daily by the idyllic family pictures cluttering up her Facebook newsfeed. All of her friends seem to be getting married and having babies, and yet here she is, resolutely single, and no prospect of creating the perfect family she's always dreamt of. How she longs for it to be her turn. But finding love is complicated, and as time passes she wonders if there might just be another way to make her dreams come true. Is she brave enough to go it alone, or is the fantasy of 'baby makes three' just too precious to give up on?

    When their parents, their Atay and Abay, decide to leave, they spin fairy tales of their destination, the mythical land and opportunities of Australia. As the family journeys from Pakistan to Indonesia to Nauru, heading toward a hope of home, they must rely on fragile and temporary shelters, strangers both mercenary and kind, and friends who vanish as quickly as they’re found. When they arrive in Australia, what seemed like a stable shore gives way to treacherous currents. Neighbors, classmates, and the government seek their own ends, indifferent to the family’s fate. For Firuzeh, her fantasy worlds provide some relief, but as her family and home splinter, she must surface from these imaginings and find a new way.

    For the honeysuckle girl. She’ll find you, I think, but if she doesn’t, you find her.Adrift ever since, Althea is now fresh out of rehab and returning to her family home in Mobile, Alabama, determined to reconnect with her estranged, ailing father. While Althea doesn’t expect him, or her politically ambitious brother, to welcome her with open arms, she’s not prepared for the chilling revelation of a grim, long-buried family secret. Fragile and desperate, Althea escapes with an old flame to uncover the truth about her lineage. Drawn deeper into her ancestors’ lives, Althea begins to unearth their disturbing history…and the part she’s meant to play in it.Gripping and visceral, this unforgettable debut delves straight into the heart of dark family secrets and into one woman’s emotional journey to save herself from a sinister inheritance.

    Leave them alone long enough, and it gets real hard to tell them apart.”Elena Alvarez is living a cursed life. From the deadly fire she accidentally set as a child, to her mother’s abandonment, and now to an unwanted pregnancy, she knows better than most that small actions can have terrible consequences. Driven to the high mountains surrounding Leadville, Colorado by her latest bad decision, she’s intent on putting off the future. Perhaps there she can just hide in her grandmother’s isolated cabin and wait for something—anything—to make her next choice for her.Instead, she is confronted by reflections of her own troubles wherever she turns—the recent widower and his two children adrift in a changed world, Elena’s own mysterious family history, and the interwoven lives within the town itself. Bit by bit, Elena begins to question her understanding of cause and effect, reexamining the tragedies she’s held on to and the wounds she’s refused to let heal.But when the children go missing, Elena’s fragile new peace is shattered. It’s only at the prospect of fresh loss and blame that she will discover the truth of the terrible burdens we take upon ourselves, the way tragedy and redemption are inevitably intertwined—and how curses can sometimes lead to blessings, however disguised.

    That's the problem. Jane Desmond feels like a failure. Sure, she has a good job and a roof over her head, but nothing else seems to ever go her way. Unwanted attention from an infatuated coworker and meddlesome matchmaking from her mother has her professional and social life in tatters. When her best friend Thea loses her job a few days after purchasing her dream home, Jane steps in to help. But when her good intentions backfire, she realizes she’ll need to make a few sacrifices to find happiness for both of them. Before Jane can follow her dreams, she may just need to risk everything she knows… I’ll Know Me When I Find Me is a novel for the modern, career-minded woman. If you like well-rounded characters, relatable situations, and energetic prose, then you’ll love this women’s fiction tale of self-discovery from Helen J. Darling.

    But for Victoria Jones, it’s been more useful in communicating mistrust and solitude. After a childhood spent in the foster-care system, she is unable to get close to anybody, and her only connection to the world is through flowers and their meanings. Now eighteen and emancipated from the system with nowhere to go, Victoria realizes she has a gift for helping others through the flowers she chooses for them. But an unexpected encounter with a mysterious stranger has her questioning what’s been missing in her life. And when she’s forced to confront a painful secret from her past, she must decide whether it’s worth risking everything for a second chance at happiness.  Look for special features inside. Join the Circle for author chats and more.

    Bingham's strange sense of morbid fancy collides with a gutsy realism; the result is splendid wreckage: a young man is seduced by his first cousin (or maybe it's the other way around) at her brother's wake ("The Other Family"); a bored couple plot to kill a man during their ski-resort honeymoon ("Marriage Is Murder"); a yuppie banker risks his whole perfect life for an affair with a junkie ("The Fixers"); an insurance-company bounty hunter tracks down walk-aways from drug and alcohol rehab ("Preexisting Condition"); and in the title story, an eleven-year-old boy is caught at the exquisitely uneasy intersection of the safety of childhood play and the pain of grown-up love and longing.These lean, potent stories are utterly original, and yet by turns recall Salinger, in their intellectual acuity, emotional depth, and wicked, dark humor; Fitzgerald, in their vivid chronicling of a new, restless social elite; and the work of "transgressive" writers, in their pervasive sense of the imminent possibility of danger and violence, even in the most civilized surroundings. Above all, the stories in Pure Slaughter Value mark the debut of a striking new literary voice--unsparing, bold, ironic, and true--that will haunt us for a long time to come.