Hartley's finest novel, encounters a world of unimagined luxury. But when his friend's beautiful older sister enlists him as the unwitting messenger in her illicit love affair, the aftershocks will be felt for years. The inspiration for the brilliant Joseph Losey/Harold Pinter film starring Julie Christie and Alan Bates, The Go-Between is a masterpiece—a richly layered, spellbinding story about past and present, naiveté and knowledge, and the mysteries of the human heart. This volume includes, for the first time ever in North America, Hartley's own introduction to the novel.

    Since her eccentric father’s untimely death, she is the presumed heir to a long-rumored trove of diaries, paintings, letters, and early novel drafts passed down from the Brontë family - a hidden fortune never revealed to anyone outside of the family, but endlessly speculated about by Brontë scholars and fanatics. Samantha, however, has never seen this alleged estate and for all she knows, it’s just as fictional as Jane Eyre or Wuthering Heights.But everything changes when Samantha enrolls at Oxford University and long lost objects from the past begin rematerializing in her life, beginning with an old novel annotated in her father’s handwriting. With the help of a handsome but inscrutable professor, Samantha plunges into a vast literary mystery and an untold family legacy, one that can only be solved by decoding the clues hidden within the Brontës’ own works

    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.

    Their father, a Ted Hughes scholar and scruffy romantic, imagines a future of well-meaning visitors and emptiness.In this moment of despair they are visited by Crow - antagonist, trickster, healer, babysitter. This self-described sentimental bird is attracted to the grieving family and threatens to stay until they no longer need him. As weeks turn to months and physical pain of loss gives way to memories, this little unit of three begin to heal.In this extraordinary debut - part novella, part polyphonic fable, part essay on grief, Max Porter's compassion and bravura style combine to dazzling effect. Full of unexpected humour and profound emotional truth, Grief is the Thing with Feathers marks the arrival of a thrilling new talent.

    He lives in a small English village with his wife, Maureen, who seems irritated by almost everything he does, even down to how he butters his toast. Little differentiates one day from the next. Then one morning the mail arrives, and within the stack of quotidian minutiae is a letter addressed to Harold in a shaky scrawl from a woman he hasn't seen or heard from in twenty years. Queenie Hennessy is in hospice and is writing to say goodbye. Harold pens a quick reply and, leaving Maureen to her chores, heads to the corner mailbox. But then, as happens in the very best works of fiction, Harold has a chance encounter, one that convinces him that he absolutely must deliver his message to Queenie in person. And thus begins the unlikely pilgrimage. Harold Fry is determined to walk six hundred miles from Kingsbridge to the hospice in Berwick-upon-Tweed because, he believes, as long as he walks, Queenie Hennessey will live. Still in his yachting shoes and light coat, Harold embarks on his urgent quest across the countryside. Along the way he meets one character after another, each of whom unlocks his long-dormant spirit and sense of promise. Memories of his first dance with Maureen, his wedding day, his joy in fatherhood, come rushing back to him - allowing him to also reconcile the losses and the regrets. As for Maureen, she finds herself missing Harold for the first time in years. And then there is the unfinished business with Queenie Hennessy.

    The Green Road is a tale of family and fracture, compassion and selfishness—a book about the gaps in the human heart and how we strive to fill them.Spanning thirty years, The Green Road tells the story of Rosaleen, matriarch of the Madigans, a family on the cusp of either coming together or falling irreparably apart. As they grow up, Rosaleen's four children leave the west of Ireland for lives they could have never imagined in Dublin, New York, and Mali, West Africa. In her early old age their difficult, wonderful mother announces that she’s decided to sell the house and divide the proceeds. Her adult children come back for a last Christmas, with the feeling that their childhoods are being erased, their personal history bought and sold.A profoundly moving work about a family's desperate attempt to recover the relationships they've lost and forge the ones they never had, The Green Road is Enright's most mature, accomplished, and unforgettable novel to date.

    Petersburg, looking for evidence of her soldier brother who disappeared decades before during the Soviet invasion; David, an American, a former spy who has seen his ideals turned inside out during his twenty-five years in Afghanistan; Casa, a young Afghani whose hatred of the West plunges him into the depths of zealotry; and James, the Special Forces soldier in whom David sees a dangerous revival of the unquestioning notions of right and wrong that he himself once held.In mesmerizing prose, Nadeem Aslam reveals the complex ties—of love and desperation, pain and salvation, madness and clarity—that bind the characters. And through their stories he creates a timely and achingly intimate portrait of the “continuation of wars” that shapes our world. In its radiant language, its depth of feeling, and its unflinching drama, The Wasted Vigil is a luminous work of fiction.

    Corduroy Mansions is the affectionate nickname given to a genteel, crumbling mansion block in London's vibrant Pimlico neighborhood and the home turf of a captivating collection of quirky and altogether McCall-Smithian characters. There's the middle-aged wine merchant William, who is trying to convince his reluctant twenty-four-year-old son, Eddie, to leave the nest; and Marcia, the boutique caterer who has her sights set on William. There's also the (justifiably) much-loathed Member of Parliament Oedipus Snark; his mother, Berthea, who's writing his biography and hating every minute of it; and his long-suffering girlfriend, Barbara, a literary agent who would like to be his wife (but, then, she'd like to be almost anyone's wife). There's the vitamin evangelist, the psychoanalyst, the art student with a puzzling boyfriend and Freddie de la Hay, the Pimlico terrier who insists on wearing a seat belt and is almost certainly the only avowed vegetarian canine in London.Filled with the ins and outs of neighborliness in all its unexpected variations, Corduroy Mansions showcases the life, laughter and humanity that have become the hallmarks of Alexander McCall Smith's work.

    Now, twenty years later, in the heat of a New Mexican summer, Thomas has begun having bizarre conversations with his dead relatives and it's up to Amina-a photographer in the midst of her own career crisis-to figure out what is really going on. But getting to the truth is far harder than it seems. From Thomas's unwillingness to talk, to Kamala's Born Again convictions, to run-ins with a hospital staff that seems to know much more than they let on, Amina finds herself at the center of a mystery so thick with disasters that to make any headway at all, she has to unravel the family's painful past.

    Chartwell House, Kent: Winston Churchill wakes at dawn. There’s a dark, mute “presence” in the room that focuses on him with rapt concentration.It’s Mr. Chartwell.Soon after, in London, Esther Hammerhans, a librarian at the House of Commons, goes to answer the door to her new lodger. Through the glass she sees a vast silhouette the size of a mattress.It’s Mr. Chartwell.Charismatic, dangerously seductive, Mr. Chartwell unites the eminent statesman at the end of his career and the vulnerable young woman. But can they withstand Mr. Chartwell’s strange, powerful charms and his stranglehold on their lives? Can they even explain who or what he is and why he has come to visit?In this utterly original, moving, funny, and exuberant novel, Rebecca Hunt explores how two unlikely lives collide as Mr. Chartwell’s motives are revealed to be far darker and deeper than they at first seem.

    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.

      In 1958, Greenwich Village buzzes with beatniks, jazz clubs, and new ideas—the ideal spot for three ambitious young people to meet. Cliff Nelson, the son of a successful book editor, is convinced he’s the next Kerouac, if only his father would notice. Eden Katz dreams of being an editor but is shocked when she encounters roadblocks to that ambition. And Miles Tillman, a talented black writer from Harlem, seeks to learn the truth about his father’s past, finding love in the process. Though different from one another, all three share a common goal: to succeed in the competitive and uncompromising world of book publishing. As they reach for what they want, they come to understand what they must sacrifice, conceal, and betray to achieve their goals, learning they must live with the consequences of their choices. In Three-Martini Lunch, Suzanne Rindell has written both a page-turning morality tale and a captivating look at a stylish, demanding era—and a world steeped in tradition that’s poised for great upheaval.

    When Orhan’s brilliant and eccentric grandfather Kemal—a man who built a dynasty out of making kilim rugs—is found dead, submerged in a vat of dye, Orhan inherits the decades-old business. But Kemal’s will raises more questions than it answers. He has left the family estate to a stranger thousands of miles away, an aging woman in an Armenian retirement home in Los Angeles. Her existence and secrecy about her past only deepen the mystery of why Orhan’s grandfather willed his home in Turkey to an unknown woman rather than to his own son or grandson. Left with only Kemal’s ancient sketchbook and intent on righting this injustice, Orhan boards a plane to Los Angeles. There he will not only unearth the story that eighty-seven-year-old Seda so closely guards but discover that Seda’s past now threatens to unravel his future. Her story, if told, has the power to undo the legacy upon which his family has been built.  Moving back and forth in time, between the last years of the Ottoman Empire and the 1990s, Orhan’s Inheritance is a story of passionate love, unspeakable horrors, incredible resilience, and the hidden stories that can haunt a family for generations. “Aline Ohanesian draws from her family’s own dark history to create a tender, powerful story of love and reclamation. Orhan’s Inheritance is a breathtaking and expansive work of historical fiction and proof that the past can sometimes rewrite the future.” —Christina Baker Kline, author of Orphan Train

    Olivia Laguni is half-Chinese, but typically American in her uneasiness with her patchwork family. And no one in Olivia's family is more embarrassing to her than her half-sister, Kwan Li. For Kwan speaks mangled English, is cheerfully deaf to Olivia's sarcasm, and sees the dead with her "yin eyes."Even as Olivia details the particulars of her decades-long grudge against her sister (who, among other things, is a source of infuriatingly good advice), Kwan Li is telling her own story, one that sweeps us into the splendor, squalor, and violence of Manchu China. And out of the friction between her narrators, Amy Tan creates a work that illuminates both the present and the past sweetly, sadly, hilariously, with searing and vivid prose.

    A lonely child growing up in the woods of northern Michigan in the 1950s, Milo gives little thought to his talent, and not until his acceptance at U.C. Berkeley does he realize the extent, and the risks, of his singular gifts. California in the seventies is an initiation and a seduction, opening Milo’s eyes to the allure of both ambition and indulgence. The research he begins there will make him a legend; the woman, and the rival, he meets there will haunt him always. For Milo’s brilliance is inextricably linked to a dark side that ultimately threatens to unravel his work, his son and daughter, and his life.