Her husband's left her. Her son's obsessed with the End of the World. And now her elderly neighbour Mrs Shapiro has decided they are related.Or so the hospital informs her when Mrs Shapiro has an accident and names Georgie next of kin. This, however, is not a case of a quick ward visit: Mrs Shapiro has a large rickety house full of stinky cats that needs looking after and that a pair of estate agents seem intent on swindling from her. Plus there are the 'Uselesses' trying to repair it (uselessly). Then there's the social worker who wants to put her in a nursing home. Not to mention some letters that point to a mysterious, painful past.As Georgie tries her best to put Mrs Shapiro's life back together, somehow she must stop her own from falling apart.

    Resolutely single, Ambrose delights in Philip as his heir, a man who will love his grand home as much as he does himself. But the cosy world the two construct is shattered when Ambrose sets off on a trip to Florence. There he falls in love and marries - and there he dies suddenly. Jealous of his marriage, racked by suspicion at the hints in Ambrose's letters, and grief-stricken by his death, Philip prepares to meet his cousin's widow with hatred in his heart. Despite himself, Philip is drawn to this beautiful, sophisticated, mysterious Rachel like a moth to the flame. And yet... might she have had a hand in Ambrose's death?

    Her own battle against grief is intensified by the mute suffering of the dog, a huge Great Dane traumatized by the inexplicable disappearance of its master, and by the threat of eviction: dogs are prohibited in her apartment building.While others worry that grief has made her a victim of magical thinking, the woman refuses to be separated from the dog except for brief periods of time. Isolated from the rest of the world, increasingly obsessed with the dog's care, determined to read its mind and fathom its heart, she comes dangerously close to unraveling. But while troubles abound, rich and surprising rewards lie in store for both of them.Elegiac and searching, The Friend is both a meditation on loss and a celebration of human-canine devotion.

    With a different die-cut on every page, Tree of Codes explores previously unchartered literary territory. Initially deemed impossible to make, the book is a first — as much a sculptural object as it is a work of masterful storytelling. Tree of Codes is the story of an enormous last day of life — as one character's life is chased to extinction, Foer multi-layers the story with immense, anxious, at times disorientating imagery, crossing both a sense of time and place, making the story of one person’s last day everyone’s story. Inspired to exhume a new story from an existing text, Jonathan Safran Foer has taken his "favorite" book, The Street of Crocodiles by Polish-Jewish writer Bruno Schulz, and used it as a canvas, cutting into and out of the pages, to arrive at an original new story told in Jonathan Safran Foer's own acclaimed voice.

    But Isabel, resolved to determine her own fate, does not hesitate to turn down two eligible suitors. She then finds herself irresistibly drawn to Gilbert Osmond, who, beneath his veneer of charm and cultivation, is cruelty itself. A story of intense poignancy, Isabel's tale of love and betrayal still resonates with modern audiences.

    As a gift for his translator's sister, a Beatles fanatic who will be his host, Saul's girlfriend will shoot a photograph of him standing in the crosswalk on Abbey Road, an homage to the famous album cover. As he waits for her to arrive, he is grazed by an oncoming car, which changes the trajectory of his life.The Man Who Saw Everything is about the difficulty of seeing ourselves and others clearly. It greets the specters that come back to haunt old and new love, previous and current incarnations of Europe, conscious and unconscious transgressions, and real and imagined betrayals, while investigating the cyclic nature of history and its reinvention by people in power. Here, Levy traverses the vast reaches of the human imagination while artfully blurring sexual and political binaries-feminine and masculine,

    The Allies have won the war. Now they have to win the peace ...Silas Payne is a Scotland Yard officer seconded to Germany to help implement the Allied policy of denazification. When a former Waffen SS soldier is found murdered in the cellar of a requisitioned house, Payne begins an investigation that leads him on a tortuous path of discovery through the chaos of post-war Germany and pits him against a depraved killer who will stop at nothing to protect his secret.

    Due to a twist of fate, he happens to start talking to a woman at the next table, and he discovers that they have one thing in common. Paula is also marking her birthday alone. After a one night stand during which they share no personal information whatsoever, John and Paula come to a loose understanding: they'll meet in the same hotel bar on the same day every year, unless one of them has something better to do. No phone numbers. No social media profiles. Just an idea. And then they go their separate ways. Or do they? For the next ten years, John and Paula stick (more or less) to their agreement. As time passes, they begin to learn more about one another, despite their attempts to remain distant. And although he knows he should remain detached, John finds himself wanting to know more and more about the mysterious Paula. Some years she seems remote and disinterested, other years she's emotional and attached, and sometimes she seems half crazy. In fact, even though she looks the same, John starts to wonder if this is really the same woman every year after all. Can one person really be ten different people at the same time? Or is something even more sinister going on? And is Paula connected to a series of murders in local hotels? I Married a Serial Killer is a horror thriller about two very mis-matched people whose lives become entwined, about the dangers of breaking the rules, and about the potentially deadly consequences of asking too many questions.

    A novel about not just discovering but inventing oneself.The year is 1995, and email is new. Selin, the daughter of Turkish immigrants, arrives for her freshman year at Harvard. She signs up for classes in subjects she has never heard of, befriends her charismatic and worldly Serbian classmate, Svetlana, and, almost by accident, begins corresponding with Ivan, an older mathematics student from Hungary. Selin may have barely spoken to Ivan, but with each email they exchange, the act of writing seems to take on new and increasingly mysterious meanings.At the end of the school year, Ivan goes to Budapest for the summer, and Selin heads to the Hungarian countryside, to teach English in a program run by one of Ivan's friends. On the way, she spends two weeks visiting Paris with Svetlana. Selin's summer in Europe does not resonate with anything she has previously heard about the typical experiences of American college students, or indeed of any other kinds of people. For Selin, this is a journey further inside herself: a coming to grips with the ineffable and exhilarating confusion of first love, and with the growing consciousness that she is doomed to become a writer.

    We read every chapter, summarize and analyze it for your convenience. This is an Instaread Summary of 'Me Before You' by JoJo Moyes. Below is a preview of the earlier sections of the summary: Chapter 1 Louisa ‘Lou’ Clark, a member of a working class family in a small English village, has just lost her job. Although both Lou’s father, Bernard, and her sister, Treena, work, neither makes enough money to help the family make ends meet without Lou’s income. For this reason, it is decided that Lou should apply for a new job at the Job Centre as soon as possible. The next day Lou goes to the gym to see her boyfriend, Patrick. He sees Lou’s lost job as an opportunity for her to improve herself and find something better. The counselor at the Job Centre suggests Lou apply as a care assistant for a man in a wheelchair. She is not interested in this job, but she is running out of options. She agrees to go for the interview. Chapter 2 Lou usually wears odd, eccentric clothes. For the job interview, Josie, her mother, insists she wear a business suit. Lou goes to Granta House, an elegant and expensive home next to the local tourist attraction, Stortfold Castle. She is interviewed by Camilla Traynor. Camilla is Will Traynor’s mother. Will became a quadriplegic after being hit by a motorcycle. He already has a nurse named Nathan to take care of his personal and medical needs. Camilla wants to hire someone to be a companion for Will and to stay with him during the day when no one else can be there. Lou thinks the interview goes badly. Therefore, she is surprised when Camilla offers her the job with a six-month contract and generous pay. Chapter 3 Lou reports for work at Granta House the following morning. Camilla shows her around the annexe, a space that was once stables but was turned into guest quarters. This is where Will lives now that he is confined to a wheelchair. Camilla explains her duties to Lou. She makes it clear that Lou is not to leave Will alone and unattended for more than 15 minutes at any one time. Camilla introduces Lou to Will and Nathan, Will’s nurse. Nathan explains Will’s medications to Lou and tells her she is there to cheer Will. Nathan leaves, and Lou and Will are left to get to know each other. It does not go well. Will is sullen, quiet, and talks very little. She keeps herself busy with cleaning and household chores to fill in the time. Lou is unhappy about the first day at her new job. She talks to her sister Treena about it. Treena asks her to stick with the job because she has decided to quit her job and go back to college. She has received a grant to help pay her tuition, but will have to quit her job. Lou feels this puts more pressure on her to earn an income.

    Gradually distancing herself from her friends, she watches them move from the idealism and political radicalism of their college years through militant feminism and, eventually, back to the materialism that they had sought to reject in the first place. Heidi's own path to maturity involves an affair with the glib, arrogant Scoop Rosenbaum, a womanizing lawyer/publisher who eventually marries for money and position; a deeper but even more troubling relationship with a charming, witty young pediatrician, Peter Patrone, who turns out to be gay; and increasingly disturbing contacts with the other women, now much changed, who were a part of her childhood and college years. Eventually Heidi comes to accept the fact that liberation can be achieved only if one is true to oneself, with goals that come out of need rather than circumstance. As the play ends she is still "alone," but having adopted an orphaned baby, it is clear that she has begun to find a sense of fulfillment and continuity that may well continue to elude the others of her anxious, self-centered generation.

    Up until today. Do I have a return ticket? No. Will someone wait for me at the airport? No. Do I have a plan? No. Do I speak English? Absolutely not. Then why do I get onto the flight to London when I originally planned to go to Frankfurt? Well, it all started with a game of solitaire…

    In this distinctive world, Peter Frankel, a successful partner in a prestigious law firm, lives a seemingly contented life with his talented wife and his two Ivy League—educated children. Yet in middle age Peter finds himself discontent. His wife’s narrowness and her preoccupation with appearances leaves him cold, his job does not fulfill his creative bent, and he fears that his children, Susan and Louis, have grown into skeptical young adults who shun marriage and stability. So when Peter’s wife is badly hurt in a car accident and lies in a coma, he finds himself guiltily relieved–and newly drawn toward his children as they too struggle with ambivalent feelings about the mother who’s never really shown them much love. As Susan, a cerebral doctoral student, becomes unhappily involved with an aspiring playwright and Louis is caught up in a futile pursuit of an ambitious journalist, Peter’s own quiet life is shaken up, and longings he has stifled for years come rumbling to the surface.Freed from his wife’s judgments, Peter throws himself into his greatest pleasure, the work he does for a foundation that funds offbeat artistic projects. And as his passion for this work ignites, so does his desire for another woman. But the stubborn morality that has steered Peter’s life is a force to be reckoned with–and one from which he may never entirely escape.Love, Work, Children is a profoundly insightful novel about two generations and the colorful urban world they inhabit. A superb portrayal of one of New York’s exceptional neighborhoods, this is a story, ultimately, about the self-imposed obstacles to true happiness–and a testament to the joy one can find in overcoming them.From the Hardcover edition.

    With How to Paint a Dead Man, Sarah Hall, "one of the most significant and exciting of Britain's young novelists" (The Guardian), delivers "a maddeningly enticing read . . . an amazing feat of literary engineering" (The Independent on Sunday).

    Gretel, a lexicographer by trade, knows this better than most. She grew up on a houseboat with her mother, wandering the canals of Oxford and speaking a private language of their own invention. Her mother disappeared when Gretel was a teen, abandoning her to foster care, and Gretel has tried to move on, spending her days updating dictionary entries.One phone call from her mother is all it takes for the past to come rushing back. To find her, Gretel will have to recover buried memories of her final, fateful winter on the canals. A runaway boy had found community and shelter with them, and all three were haunted by their past and stalked by an ominous creature lurking in the canal: the bonak. Everything and nothing at once, the bonak was Gretel’s name for the thing she feared most. And now that she’s searching for her mother, she’ll have to face it.