Not that that’s her slogan, although it should be. This is what she’s worked so hard for over the years after her husband’s untimely death (which was definitely not her fault) and inheriting his seat in the House of Representatives. She’s said all the right things. Passed all the right legislation. Chapped her lips kissing babies. There’s just one problem: her grown children.Greta and Nick Harriman are adrift. Nick, recently heartbroken, is floundering in his attempts to write a musical about the life of Joan Didion (called Hello to All That). And then there’s his little sister Greta. Smart, pretty, and completely unmotivated by anything, allowing her life to pass her by like the shoppers at the Apple store where she works.But then one morning the world wakes up not to Nancy making headlines, but Greta. She’s in Paris. With extremist protestors. Throwing a bottle of champagne through a beloved bistro’s front window. In order to save her campaign, not to mention her daughter, Nancy and Nick must find Greta before it’s too late.Smart and poignant, funny and tear-jerking, Let’s Not Do That Again proves that like democracy, family is a messy and fragile thing that means more than any mother, or senator, could ever dream.

    The novel sweeps across India, from an island, to a valley, a city, and a snow desert to tell a love story of epic proportions. We follow a scientist who studies trees and a clairvoyant who speaks to them; a geologist working to end futile wars over a glacier; octogenarian lovers; a mother struggling to free her revolutionary son; a yeti who seeks human companionship; a turtle who transforms first into a boat and then a woman; and the ghost of an evaporated ocean as restless as the continents. Binding them all together is a vision of life as vast as the universe itself. A young writer awarded one of the most prestigious prizes in India for this novel, Shubhangi Swarup is a storyteller of extraordinary talent and insight. Richly imaginative and wryly perceptive, Latitudes of Longing offers a soaring view of humanity: our beauty and ugliness, our capacity to harm and love each other, and our mysterious and sacred relationship with nature.

    And so her mother outfits Grace in men's clothing and casts her out. When her younger brother Colly follows after her, the two set off on a life-changing odyssey in the looming shadow of the Great Famine.To survive, Grace will become a boy, a bandit, a penitent and finally, a woman. A meditation on love, life and destiny, Grace is an epic coming-of-age novel, and a poetic evocation of the Irish famine as it has never been written.

    Caro, Pauly, Sally, and Grandy are safe, so far, from the rising water that threatens to destroy the town and that has, perhaps, already destroyed everything else. But for how long? Caro and her younger half-brother, Pauly, arrive at the High House after her father and stepmother fall victim to a faraway climate disaster—but not before they call and urge Caro to leave London. In their new home, a converted summer house cared for by Grandy and his granddaughter, Sally, the two pairs learn to live together. Yet there are limits to their safety, limits to the supplies, limits to what Grandy—the former village caretaker, a man who knows how to do everything—can teach them as his health fails. A searing novel that takes on parenthood, sacrifice, love, and survival under the threat of extinction, The High House is a stunning, emotionally precise novel about what can be salvaged at the end of the world.

    That is, if you were to go by a definition of 'no obvious indicators of peculiarity', and you didn't know her very well. She has good friends, a good job, a nice enough home. This normality, however, is precariously plastered on top of a different life. A life that is Amy's real life. The only one her brain will let her lead.What is it really like to live with mental illness?An insight into the reality of life with obsessive compulsive disorder (OCD), anxiety and depression.

    Alfred Olyontombo barely survived the violence of his desperate childhood in central Africa. Ripped from his village as a young orphan, Alfred persevered through turbulent years of lawlessness and civil war, eventually making his way to a refugee camp as Rwanda's genocide raged behind him. Alone amidst the chaotic conditions at the camp, Alfred's quick mind and gift for languages caught the attention of an idealistic young doctor who opened the door to a whole new life for Alfred. He seized that chance, moving forward with hard work, honor, and a conscious decision to leave the full truth of his past-and the boy he used to be-behind in Africa.Years pass and Alfred becomes a respected physician married to a beautiful lawyer, enjoying a privileged life in Colorado. But then his idyllic existence is shattered by the terminal illness of his young daughter. As he and his wife struggle to come to terms with their unfathomable loss, Alfred is publicly accused of a long-ago war crime in Africa. The mere accusation threatens to destroy everything he has built-including his marriage. But as he struggles to defend himself, Alfred realizes he is culpable and that omitting his sins did not absolve them.His future hanging in the balance, Alfred is forced to face all the misdeeds he'd hoped time and his carefully crafted version of the past had buried forever. But is it too late for the truth to matter?

    From his earliest memories, he has loved food's colors, textures and tastes. The way flavors go off in his mouth. How food keeps his mind still and his bad feelings quiet. Food has always made everything better, until the day Billy's beloved son Michael takes his own life.Billy determines to make a difference in Michael's memory and undertakes a public weight-loss campaign, to raise money for suicide prevention--his first step in an ambitious plan to save himself, and to save others. However, Billy's dramatic crusade appalls his family, who want to simply try to go on, quietly, privately.Despite his crushing detractors, Billy gains welcome allies: his community-at-large; a co-worker who lost his father to suicide; a filmmaker with his own dubious agenda; and a secret, miniature kingdom that Billy populates with the sub-quality dolls and soldiers he saves from disposal at the toy factory where he works. But it is only if Billy can confront the truth of the suffering and brokenness within and around him that he and others will be able to realize the recovery they need.Told against the picturesque yet haunting backdrop of rural, contemporary Ireland, The Weight of Him is a big-hearted novel about loss and reliance that moves from tragedy to recrimination to what can be achieved when we take the stand of our lives.

    We forget the magnitude, sometimes, of that miracle. In the dead of night, shots ring out over the grounds of a sprawling English estate. The world-weary butler Eustace recognizes the gunman—his longtime employer, Mr. Crowe—and knows he must think and act quickly. Who is the man lying dead on the lawn? Who is the woman in his company? Can he clean up his master’s mess like he always has before? Or will this bring a new kind of reckoning? Mr. Crowe was once famed for his gifts—unaccountable gifts, known only to the members of a secretive order. Protected and privileged, he was courted by countesses and great men of letters. But he has long since retreated from that glittering world, living alone but for Eustace and Clara, his mysterious young ward. He has been content to live quietly, his great library gathering dust and his once magnificent gardens growing wild. He has left the past behind. Until now. Because there are rules, even for Mr. Crowe and his kind, that cannot be broken. And this single night of passion and violence will have consequences, stirring shadows from the past and threatening those he now cares for. He and the faithful Eustace will be tested as never before. So too will Clara, whose own extraordinary gifts remain hidden, even from herself. If she is to save them all, she must learn to use them quickly and unlock the secret of who she is. It is a secret beyond imagining. A secret that will change everything.

    Maggie is a successful young artist who has had bad luck with men. Her last put her in the hospital and, after she’s healed physically, left her needing to get out of London to heal mentally and find a place of quiet that will restore her creative spirit. On the rugged west coast of Ireland, perched on a wild cliff side, she spies the shell of a cottage that dates back to Great Famine and decides to buy it. When work on the house is done, she invites her dealer to come for the weekend to celebrate along with a couple of women friends, one of whom will become his wife. On the boozy last night, the other friend pulls out an Ouija board. What sinister thing they summon, once invited, will never go.Ireland is a country haunted by its past. In Billy O'Callaghan's hands, its terrible beauty becomes a force of inescapable horror that reaches far back in time, before the Famine, before Christianity, to a pagan place where nature and superstition are bound in an endless knot.

    It's full of family trips to the beach and long afternoons at the local pool with her older sister Kathy, which they mostly use as an excuse to ogle Billy Barnes, who works the concession stand there. A rising senior and local basketball star, Billy has been an unending source of intrigue for both girls since he jumped off the school roof in fifth grade, and their fascination with him is one of the few things the increasingly different sisters have in common. By summer’s end Billy and Kathy are an item—an unthinkable stroke of luck that ends in an even more unthinkable tragedy.Set over the course of fifteen years, Notes on Your Sudden Disappearance is narrated by Sally as she addresses Kathy before, during, and after her death. We watch as Kathy’s absence creates a gaping hole that only Billy—now firmly off-limits to Sally—understands and might possibly begin to fill. Charting years of their shared history and missed connections, Notes on Your Sudden Disappearance is both a breathtaking love story between two broken people who are unexplainably, inconveniently drawn to each other, and a wry, sharply observant coming-of-age story that looks at the ways the people we love the most continue to shape our lives long after they’re gone.

    He will wave goodbye early one morning, then disappear with seven other men to traverse the Irish countryside. Together, these men form The Butchers, a group that roams from farm to farm, enacting ancient methods of cattle slaughter.  The Butchers’ Blessing moves between the events of 1996 and the present, offering a simmering glimpse into the modern tensions that surround these eight fabled men. For Úna, being a Butcher’s daughter means a life of tangled ambition and incredible loneliness. For her mother Grá, it’s a life of faith and longing, of performing a promise that she may or may not be able to keep. For non-believer Fionn, The Butchers represent a dated and complicated reality, though for his son Davey, they represent an entirely new world—and potentially new love. For photographer Ronan, The Butchers are ideal subjects: representatives of an older, more folkloric Ireland whose survival is now being tested. As he moves through the countryside, Ronan captures this world image by image—a lake, a cottage, and his most striking photo: a single butcher, hung upside-down in a pose of unspeakable violence.

    Show Them a Good Time tells the stories of women slotted away into restrictive roles: the celebrity's girlfriend, the widower's second wife, the lecherous professor's student, the corporate employee. And yet, the genius of Flattery's characters is to blithely demolish the boundaries of these limited and limiting social types with immense complexity and caustic intelligence. Nicole Flattery's women are too ferociously mordant, too painfully funny to remain in their places.In this fiercely original and blazingly brilliant debut, Flattery likewise deconstructs the conventions of genre to serve up strange realities: In Not the End Yet, Flattery probes the hilarious and wrenching ambivalence of Internet dating as the apocalypse nears; in Sweet Talk, the mysterious disappearance of a number of local women sets the scene for a young girl to confront the dangerous uncertainties of her own sexuality; in this collection's center piece, Abortion, A Love Story, two college students in a dystopian campus reconfigure the perilous stories of their bodies in a fraught academic culture to offer a subversive, alarming, and wickedly funny play that takes over their own offstage lives. And yet, however surreal or richly imagined the setting, Flattery always shows us these strange worlds from startlingly unexpected angles, through an unforgettable cast of brutally honest, darkly hilarious women and girls.Like the stories of Mary Gaitskill, Miranda July, Lorrie Moore, Joy Williams, and Ottessa Moshfegh, Show Them a Good Time is the work of a profoundly resonant and revelatory literary voice – at once spiky, humane, achingly hilarious-- that is sure to echo through the literary culture for decades to come.

    Tess is skeptical, but cannot deny a request that might be Ellie’s last. Together with Joline, whose spiritual work inspired the trip, they travel to the mountain village of Otavalo, where they are immersed in nature and introduced to strange, ancient traditions. After an ayahuasca ceremony goes awry, and an unlikely betrayal threatens their friendship, each woman faces her own deep need for healing. FILL THE SKY is a story about the complexity of friendship, the power of the spirit, and the quest to not simply fight death, but to shape an authentic life.

    Olga Grushin is dealing with issues of women’s identity, of women’s choices, that no modern novel has explored so deeply. “Forty rooms” is a conceit: it proposes that a modern woman will inhabit forty rooms in her lifetime. They form her biography, from childhood to death. For our protagonist, the much-loved child of a late marriage, the first rooms she is aware of as she nears the age of five are those that make up her family’s Moscow apartment. We follow this child as she reaches adolescence, leaves home to study in America, and slowly discovers sexual happiness and love. But her hunger for adventure and her longing to be a great poet conspire to kill the affair. She seems to have made her choice. But one day she runs into a college classmate. He is sure of his path through life, and he is protective of her. (He is also a great cook.) They drift into an affair and marriage. What follows are the decades of births and deaths, the celebrations, material accumulations, and home comforts—until one day, her children grown and gone, her husband absent, she finds herself alone except for the ghosts of her youth, who have come back to haunt and even taunt her. Compelling and complex, Forty Rooms is also profoundly affecting, its ending shattering but true. We know that Mrs. Caldwell (for that is the only name by which we know her) has died. Was it a life well lived? Quite likely. Was it a life complete? Does such a life ever really exist? Life is, after all, full of trade-offs and choices. Who is to say her path was not well taken? It is this ambiguity that is at the heart of this provocative novel.

    She is a sheltered college student, he an adventurous, charismatic young artist. In a city brimming with possibilities, he spurs her to take life on with gusto. But as Catherine opens herself to new experiences, James's life becomes a prison; as changed as the new Ireland may be, it is still not a place in which he feels able to truly be himself. Catherine, grateful to James and worried for him, desperately wants to help -- but as time moves on, and as life begins to take the friends in different directions, she discovers that there is a perilously fine line between helping someone and hurting them further. When crisis hits, Catherine finds herself at the mercy of feelings she cannot control, leading her to jeopardize all she holds dear.By turns exhilarating and devastating, Tender is a dazzling exploration of human relationships, of the lies we tell ourselves and the lies we are taught to tell. It is the story of first love and lost innocence, of discovery and betrayal. A tense high-wire act with keen psychological insights, this daring novel confirms McKeon as a major voice in contemporary fiction, belonging alongside the masterful Edna O'Brien and Anne Enright.