I think movies are the way I do that,” says Sophie Stark, a visionary and unapologetic filmmaker. She uses stories from the lives of those around her—her obsession, her girlfriend, and her husband—to create movies that bring her critical recognition and acclaim. But as her career explodes, Sophie’s unwavering dedication to her art leads to the shattering betrayal of the people she loves most.Told in a chorus of voices belonging to those who knew her best, The Life and Death of Sophie Stark is an intimate portrait of an elusive woman whose monumental talent and relentless pursuit of truth reveal the cost of producing great art, both for the artist and for the people around her.

    But when a chance encounter with Theodore Camden, one of the architects of the grand New York apartment house The Dakota, leads to a job offer, her world is suddenly awash in possibility—no mean feat for a servant in 1884. The opportunity to move to America, where a person can rise above one’s station. The opportunity to be the female manager of The Dakota, which promises to be the greatest apartment house in the world. And the opportunity to see more of Theo, who understands Sara like no one else...and is living in The Dakota with his wife and three young children.

    Oak Ridge, Tennessee has sprung up in a matter of months—a town of trailers and segregated houses, 24-hour cafeterias, and constant security checks. There, June joins hundreds of other young girls operating massive machines whose purpose is never explained. They know they are helping to win the war, but must ask no questions and reveal nothing to outsiders.The girls spend their evenings socializing and flirting with soldiers, scientists, and workmen at dances and movies, bowling alleys and canteens. June longs to know more about their top-secret assignment and begins an affair with Sam Cantor, the young Jewish physicist from New York who oversees the lab where she works and understands the end goal only too well, while her beautiful roommate Cici is on her own mission: to find a wealthy husband and escape her sharecropper roots. Across town, African-American construction worker Joe Brewer knows nothing of the government’s plans, only that his new job pays enough to make it worth leaving his family behind, at least for now. But a breach in security will intertwine his fate with June’s search for answers.When the bombing of Hiroshima brings the truth about Oak Ridge into devastating focus, June must confront her ideals about loyalty, patriotism, and war itself.

    She is staring down the barrel at a future of people asking if she wants to come to their yoga class, and book clubs, where everyone is wearing statement scarves and they are all ‘tiddly’ after a glass of Pinot Grigio. But Mummy does not want to go quietly into that good night of women with sensible haircuts who ‘live for their children’, boasting about Boy Child and Girl Child’s achievements. Instead, she clutches a large glass of wine, muttering FML over and over, and then remembers the gem of an idea she’s had…

    She struggles to fit in—she’s young and unexotic, a naive new girl—but soon she forges friendships and finds a place for herself in the big city.Then she meets an attractive older man. He’s an established actor, 20 years older, and the inevitable clamorous relationship that ensues is one that will change her forever.A redemptive, captivating story of passion and innocence set across the bedsits of mid-1990s London, McBride holds new love under her fierce gaze, giving us all a chance to remember what it’s like to fall hard for another.

    After forty-one years, she has reached her limit, and one evening in Paris she decides to take action. Following a dramatic moment on the banks of the Seine, Marianne leaves her life behind and sets out for the coast of Brittany, also known as the end of the world.Here she meets a cast of colorful and unforgettable locals who surprise her with their warm welcome, and the natural ease they all seem to have, taking pleasure in life's small moments. And, as the parts of herself she had long forgotten return to her in this new world, Marianne learns it s never too late to begin the search for what life should have been all along. With all the buoyant charm that made The Little Paris Bookshop a beloved bestseller, The Little French Bistro is a tale of second chances and a delightful embrace of the joys of life in France.

    But at home, she was a narcissistic, disinterested mother who alienated her three daughters. As soon as possible, tomboy Nell fled her mother's overbearing presence to work on a farm and find her own way in the world as a single mother. The target of her mother s criticism, Meredith never felt good enough, thin enough, pretty enough. Her life took her to London and into the arms of a man whom she may not even love. And Lizzy, the youngest, more like Ronni than any of them, seemed to have it easy, using her drive and ambition to build a culinary career to rival her mother's fame, while her marriage crumbled around her. But now the Sunshine Girls are together again, called home by Ronni, who has learned that she has a serious disease and needs her daughters to fulfill her final wishes. And though Nell, Meredith, and Lizzy are all going through crises of their own, their mother s illness draws them together to confront old jealousies and secret fears and they discover that blood might be thicker than water after all.

    Matilda Simpkin, rooting through a cupboard, comes across a small wooden club – an old possession of hers, unseen for more than a decade.Mattie is a woman with a thrilling past and a chafingly uneventful present. During the Women’s Suffrage Campaign she was a militant. Jailed five times, she marched, sang, gave speeches, smashed windows and heckled Winston Churchill, and nothing – nothing – since then has had the same depth, the same excitement.Now in middle age, she is still looking for a fresh mould into which to pour her energies. Giving the wooden club a thoughtful twirl, she is struck by an idea – but what starts as a brilliantly idealistic plan is derailed by a connection with Mattie’s militant past, one which begins to threaten every principle that she stands for.Old Baggage is a funny and bittersweet portrait of a woman who has never, never given up the fight.

    In"Bog Girl", a revelatory story about first love, a young man falls in love with a two thousand year old girl that he's extracted from a mass of peat in a Northern European bog. In "The Prospectors," two opportunistic young women fleeing the depression strike out for new territory, and find themselves fighting for their lives. In the brilliant, hilarious title story, a new mother desperate to ensure her infant's safety strikes a diabolical deal, agreeing to breastfeed the devil in exchange for his protection. The landscape in which these stories unfold is a feral, slippery, purgatorial space, bracketed by the void--yet within it Russell captures the exquisite beauty and tenderness of ordinary life. Orange World is a miracle of storytelling from a true modern master.

    She turned to housekeeping to make ends meet, and with a tenacious grip on her dream to provide her daughter the very best life possible, Stephanie worked days and took classes online to earn a college degree, and began to write relentlessly. Maid explores the underbelly of upper-middle class America and the reality of what it’s like to be in service to them. “I’d become a nameless ghost,” Stephanie writes about her relationship with her clients, many of whom do not know her from any other cleaner, but who she learns plenty about. As she begins to discover more about her clients’ lives-their sadness and love, too-she begins to find hope in her own path. Her writing as a journalist gives voice to the "servant" worker, and those pursuing the American Dream from below the poverty line. Maid is Stephanie’s story, but it’s not her alone..

    It was stolen moments spent with the empowered literary characters of Jane Austen and Louisa May Alcott that helped her to imagine an alternative way of life. Trapped as a teenager in a sexually and emotionally dysfunctional marriage to a man she barely knew, the tension between Deborah’s desires and her responsibilities as a good Satmar girl grew more explosive until she gave birth at nineteen and realized that, for the sake of herself and her son, she had to escape.

    She dreams of having the liberty to explore them in writing, and so must find a way to win herself the time and security to use her mind. She escapes her lot by marrying a rich man, but having gained a husband, a house, high society, and a maid, she finds that her new life of privilege is no less constrained. Not only has she taken up different forms of time-consuming labor—social and erotic—but she is now, however passively, forcing other women to clean up after her. Perhaps another and more drastic solution is necessary?Reminiscent of a lost Victorian classic in miniature, yet taking equal inspiration from such modern authors as Jean Rhys, Octavia Butler, Clarice Lispector, and Jean Genet, Amina Cain's Indelicacy is at once a ghost story without a ghost, a fable without a moral, and a down-to-earth investigation of the barriers faced by women in both life and literature. It is a novel about seeing, class, desire, anxiety, pleasure, friendship, and the battle to find one’s true calling."Indelicacy isn't merely a book, it's a world; a world I wanted to live in, forever . . . Arch, yet warm; aspiring and impervious; confiding and enigmatic; reposing and intrepid; Cain has conjured a protagonist who purged my mind and filled my heart." —Claire-Louise Bennett, author of Pond A ghostly feminist fable, Amina Cain’s Indelicacy is the story of a woman navigating between gender and class roles to empower herself and fulfill her dreams.

    Springing into post-World War II society, and quite naughty and haughty, she lived in a whirlwind of fame and notoriety. Georgie Blalock captures the fascinating, fast-living princess and her “set” as seen through the eyes of one of her ladies-in-waiting. In dreary, post-war Britain, Princess Margaret captivates everyone with her cutting edge fashion sense and biting quips. The royal socialite, cigarette holder in one hand, cocktail in the other, sparkles in the company of her glittering entourage of wealthy young aristocrats known as the Margaret Set, but her outrageous lifestyle conflicts with her place as Queen Elizabeth’s younger sister. Can she be a dutiful princess while still dazzling the world on her own terms?Post-war Britain isn’t glamorous for The Honorable Vera Strathmore. While writing scandalous novels, she dreams of living and working in New York, and regaining the happiness she enjoyed before her fiancé was killed in the war. A chance meeting with the Princess changes her life forever. Vera amuses the princess, and what—or who—Margaret wants, Margaret gets. Soon, Vera gains Margaret’s confidence and the privileged position of second lady-in-waiting to the Princess. Thrust into the center of Margaret’s social and royal life, Vera watches the princess’s love affair with dashing Captain Peter Townsend unfurl.But while Margaret, as a member of the Royal Family, is not free to act on her desires, Vera soon wants the freedom to pursue her own dreams. As time and Princess Margaret’s scandalous behavior progress, both women will be forced to choose between status, duty, and love…

    government. You have to remember because Harvard doesn't let you forget.1969: the height of counterculture and the year universities would seek to curb the unruly spectacle of student protest; the winter that Harvard University would begin the tumultuous process of merging with Radcliffe, its all-female sister school; and the year that Jane Britton, an ambitious twenty-three-year-old graduate student in Harvard's Anthropology Department and daughter of Radcliffe Vice President J. Boyd Britton, would be found bludgeoned to death in her Cambridge, Massachusetts apartment.   Forty years later, Becky Cooper a curious undergrad, will hear the first whispers of the story. In the first telling the body was nameless. The story was this: a Harvard student had had an affair with her professor, and the professor had murdered her in the Peabody Museum of Archaeology and Ethnology because she'd threatened to talk about the affair. Though the rumor proves false, the story that unfolds, one that Cooper will follow for ten years, is even more complex: a tale of gender inequality in academia, a 'cowboy culture' among empowered male elites, the silencing effect of institutions, and our compulsion to rewrite the stories of female victims. We Keep the Dead Close is a memoir of mirrors, misogyny, and murder. It is at once a rumination on the violence and oppression that rules our revered institutions, a ghost story reflecting one young woman's past onto another's present, and a love story for a girl who was lost to history.

    Julia Cooke’s intimate storytelling weaves together the real-life stories of a memorable cast of characters, from Lynne Totten, a science major who decided life in a lab was not for her, to Hazel Bowie, one of the relatively few black stewardesses of the era, as they embraced the liberation of their new jet-set life. Cooke brings to life the story of Pan Am stewardesses’ role in the Vietnam War, as the airline added runs from Saigon to Hong Kong for planeloads of weary young soldiers straight from the battlefields, who were off for five days of R&R, and then flown back to war. Finally, with Operation Babylift—the dramatic evacuation of 2,000 children during the fall of Saigon—the book’s special cast of stewardesses unites to play an extraordinary role on the world stage.