In her critically acclaimed new novel, Shay Youngblood, the Pushcart Prize-winning author of Soul Kiss, chronicles the Parisian odyssey of a young African-American woman retracing the footsteps of the literary legends who inspired her.

    Admission. Aren't there two sides to the word? And two opposing sides...It's what we let in, but it's also what we let out." For years, 38-year-old Portia Nathan has avoided the past, hiding behind her busy (and sometimes punishing) career as a Princeton University admissions officer and her dependable domestic life. Her reluctance to confront the truth is suddenly overwhelmed by the resurfacing of a life-altering decision, and Portia is faced with an extraordinary test. Just as thousands of the nation's brightest students await her decision regarding their academic admission, so too must Portia decide whether to make her own ultimate admission. Admission is at once a fascinating look at the complex college admissions process and an emotional examination of what happens when the secrets of the past return and shake a woman's life to its core.

    Will she find Mr Right and start a family? But Patty is in love - with a man who is not only attractive and financially sound, but sensitive and warmhearted. There's just one small problem: He is also gay. Against her better judgment, and pleas from family and friends, Patty refuses to give up on Ethan. Every man she dates ultimately leaves her aching for the gentle comfort and intimacy she shares with him. But even as she throws eligible bachelors to the wayside to spend yet another platonic night with Ethan, Patty longs more and more for the consolation of loving and being loved. In the meantime she must content herself with waiting - until the real thing comes along . . .

    She works at a national newspaper, where she’s constantly forced to compare herself to her white middle class peers. After a messy break up from her long-term white boyfriend, Queenie seeks comfort in all the wrong places…including several hazardous men who do a good job of occupying brain space and a bad job of affirming self-worth.As Queenie careens from one questionable decision to another, she finds herself wondering, “What are you doing? Why are you doing it? Who do you want to be?”—all of the questions today’s woman must face in a world trying to answer them for her.

    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.

    One stayed at home to raise her children and manage the family apple orchard; the other followed a dream and traveled the world to become a famous photojournalist. But when their beloved father falls ill, Meredith and Nina find themselves together again, standing alongside their cold, disapproving mother, Anya, who even now, offers no comfort to her daughters. As children, the only connection between them was the Russian fairy tale Anya sometimes told the girls at night. On his deathbed, their father extracts a promise from the women in his life: the fairy tale will be told one last time—and all the way to the end. Thus begins an unexpected journey into the truth of Anya’s life in war-torn Leningrad, more than five decades ago. Alternating between the past and present, Meredith and Nina will finally hear the singular, harrowing story of their mother’s life, and what they learn is a secret so terrible and terrifying that it will shake the very foundation of their family and change who they believe they are. Librarian's note: See alternate cover edition of ISBN13 9780312663155 here.

    So as soon as she was old enough and able enough, that was where she went--parlaying her smarts and her ambition into one of the hottest hair salons in town. In no time, she was moving with the brothers and sisters who had beautiful clothes, big cars, bigger dreams, and money in the bank.Now, after more than a decade of elegant pleasures and luxe living, Ava has come home, her fabulous career and power plans smashed to bits on one dark truth. Ava Johnson has tested positive for HIV. And she's back in little Idlewild to spend a quiet summer with her widowed sister, Joyce, before moving on to finish her life in San Francisco, the most HIV-friendly place she can imagine.But what she thinks is the end is only the beginning because there's too much going down in her hometown for Ava to ignore. There's the Sewing Circus--sister Joyce's determined effort to educate Idlewild's young black women about sex, drugs, pregnancy, whatever. . .despite the interference of the good Reverend Anderson and his most virtuous, "Just say no" wife. Plus Joyce needs a helping hand to make a loving home for Imani, an abandoned crack baby whom she's taken into her heart.And then there's Wild Eddie, whose legendary background in violence combined with his Eastern gentility has stirred Ava's interest. . .and something more.

    This time around, the ladies are a bit older, a lot richer, but not particularly wiser nor more endearing than Bushnell's earlier heroines. Lipstick Jungle weaves the stories of Nico O'Neilly, Wendy Healy, and Victory Ford, numbers 8, 12, and 17 on The New York Post's list of "New York's 50 Most Powerful Women." But this is 21st Century New York, and to get ahead and stay ahead, these women will do anything, including jeopardizing their personal and professional relationships. Take for example Nico, editor-in-chief of Bonfire magazine, who betrays her boss to rise to the top of the entire magazine division at media mega-giant Splatch-Verner. As president of Paradour Pictures, Wendy may be poised to win an Oscar for her 10-year labor-of-love, Ragged Pilgrims, but her marriage is in shambles and her children care more about a $50,000 pony than their mother. And for single, 43-year-old fashion designer Victory, pleasing tough critics may be more important than ever finding the real relationship she's convinced herself she doesn't need. This racy tale of women behaving badly manages to shrewdly flip the tables to show us how gender roles are essentially interchangeable, given the right circumstances. Whether that was Bushnell's intent when crafting this wicked tale is another story. --Gisele Toueg Q: Were Victory, Wendy, and Nico inspired by any real-life women? A: The characters and situations in Lipstick Jungle were inspired by the real-life women I know and admire in New York City. As with Sex and the City, I spent a lot of time thinking about where women were today, and what I noticed was that there was a fascinating group of women in their forties who were leading non-traditional lives. They were highly successful and motivated, they often had children, and usually were the providers for their families, and yet, they didn't fit the old stereotype of the witchy businesswoman. Indeed, so many of these women were the girls next door, the girls who reminded me of my best friends when I was a kid and we used to fantasize about the great things we were going to do in life. Like the women in Sex and the City, the Lipstick Jungle women are charting new lives for themselves, redefining what it means to be a woman when you really are as powerful, or more powerful, than a man. Of course, you probably want specifics, so I will say that there was a moment when it all clicked. Tina Brown used to write a terrific column in the Washington Post, and one of the things she was always mentioning was how there was a group of powerful women who were meeting and lunching at Michael's restaurant. They'd been working for over twenty years, their children were now in their early teens and didn't need them every minute, and now, in their forties or early fifties, they had time to strive for new career goals and to spend more time with their girlfriends. I thought, "Aha--that's the Lipstick Jungle." Q: What kind of research did you do to cover fashion, film, and publishing in one book? A: To research fashion, film and publishing, I did what I always do--I talked to my girlfriends! Of course, it helps that I've worked in magazine publishing and have had my share of experience with Hollywood. I'm also lucky enough to have a couple of girlfriends who are top designers, who offered to help me out with the specific details. I still remember the afternoon when one of my girlfriends and I sat down to talk--she was over eight months pregnant, and I was worried that we were going to have to run to the hospital!

    . . and so do the women who are drawn there.Yellow Samsonite suitcase with ivory, quilted lining, 1950s...Violet Turner had always dreamed of owning a shop like Hourglass Vintage. Though she knows the personal history behind each precious item she sells, Violet refuses to acknowledge her own past. When she is faced with the possibility of losing the store, she realizes that, as much as she wants to, she cannot save it alone.Taffeta tea length wedding gown with scooped neckline and cap sleeves, 1952...Eighteen-year-old April Morgan is nearly five months along in an unplanned pregnancy when her hasty engagement is broken. When she returns the perfect 1950s wedding dress, she discovers unexpected possibilities and friends who won't let her give up on her dreams.Orange sari made from silk dupioni with gold paisley design, 1968...Betrayed by her husband, Amithi Singh begins selling off her old clothes, remnants of her past life. After decades of housekeeping and parenting a daughter who rejects her traditional ways, she fears she has nothing more ahead for her.An engaging story that beautifully captures the essence of women's friendship and love, Vintage is a charming tale of possibility, of finding renewal and hope when we least expect it.

    Hill, a nearly blind, elderly black woman, can't protect her when real love--exhilarating, passionate, heartbreaking--enters her life in the gorgeous shape of Huddie Lester.  With her finely honed style and her unflinching sensibility, Bloom shows us how profoundly the forces of love and desire can shape a life.

    She was the carefully raised daughter of Carolina gentry and he was a skinny tenant farmer who had never owned anything in his life. She was newly widowed after a disastrous marriage to a brutal drifter. He had never asked a woman to do more than help him hitch a mule. They didn't fall in love so much as they simply found each other and held on for dear life.Kaye Gibbons's first novel, Ellen Foster, won the Sue Kaufman Prize for First Fiction from the American Academy and Institute of Arts and Letters and the praise of writers from Walker Percy to Eudora Welty. In A Virtuous Woman, Gibbons transcends her early promise, creating a multilayered and indelibly convincing portrait of two seemingly ill-matched people who somehow miraculously make a marriage.

    Greenie Duquette, openhearted yet stubborn, devotes most of her passionate attention to her Greenwich Village bakery and her four–year–old son, George. Her husband, Alan, seems to have fallen into a midlife depression, while Walter, a traditional gay man who has become her closest professional ally, is nursing a broken heart.It is at Walter’s restaurant that the visiting governor of New Mexico tastes Greenie’s coconut cake and decides to woo her away from the city to be his chef. For reasons both ambitious and desperate, she accepts—and finds herself heading west without her husband. This impulsive decision will change the course of several lives within and beyond Greenie’s orbit. Alan, alone in New York, must face down his demons; Walter, eager for platonic distraction, takes in his teenage nephew. Yet Walter cannot steer clear of love trouble, and despite his enforced solitude, Alan is still surrounded by women: his powerful sister, an old flame, and an animal lover named Saga, who grapples with demons all her own. As for Greenie, living in the shadow of a charismatic politician leads to a series of unforeseen consequences that separate her from her only child. We watch as folly, chance, and determination pull all these lives together and apart over a year that culminates in the fall of the twin towers at the World Trade Center, an event that will affirm or confound the choices each character has made—or has refused to face.Julia Glass is at her best here, weaving a glorious tapestry of lives and lifetimes, of places and people, revealing the subtle mechanisms behind our most important, and often most fragile, connections to others. In The Whole World Over she has given us another tale that pays tribute to the extraordinary complexities of love.

    They've also been Margaret Drew's best friends since they were children. Margaret has always been the plain Jane of the threesome, living vicariously through the exploits of her friends. But when Tiffany and Chantal head to Europe on an extended vacation, leaving Margaret to tend their apartments, Margaret decides to see how the other half lives. Co-opting their apartments, their boyfriends (current and past), their fabulous lifestyles and Tiffany's very savvy pooch, Virginia, Margaret finally feels like she has found the life she has always wanted and deserved. But her double living begins to catch up with her and Margaret might soon be homeless, manless, and friendless all in one swoop.

    A woman who can handle any situation, she has her hands full with two headstrong daughters who happen to be complete opposites -- dour Dorothy and sweet Clancy Jane. Hoping money will heal childhood wounds, Dorothy marries the owner of a five-and-dime, while Clancy Jane gets into a mess of trouble, running off with a randy tomcat who pumps gas at the Esso stand. And then there are Gussie's granddaughters, the smart but plain Violet and fancy-talking Bitsy -- a new generation whose lives will reflect a nation's tumultuous times. From Tennessee to New Orleans, from psychedelic San Francisco to a remote Southwestern desert ranch, this funny, poignant novel spans more than four decades as it vividly recounts the universal loves, sorrows, and joys of women's lives.

    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.