He has no friends, gets beaten up at school, and his parents are always criticizing him. Tired of feeling miserable, Victor takes a bottle of his mother's sleeping pills—only to wake up in the hospital.Bull is angry, and takes all of his rage out on Victor. That makes him feel better, at least a little. But it doesn't stop Bull's grandfather from getting drunk and hitting him. So Bull tries to defend himself with a loaded gun.When Victor and Bull end up as roommates in the same psych ward, there's no way to escape each other or their problems. Which means things are going to get worse—much worse—before they get better….

    The first nonfiction work by one of the most distinctive prose stylists of our era, Joan Didion's Slouching Towards Bethlehem remains, decades after its first publication, the essential portrait of America—particularly California—in the sixties.It focuses on such subjects as John Wayne and Howard Hughes, growing up a girl in California, ruminating on the nature of good and evil in a Death Valley motel room, and, especially, the essence of San Francisco's Haight-Ashbury, the heart of the counterculture.

    “That way,” Mami told the midwife, “no matter where life takes her, she won’t ever forget where she came from.” Then Mago touched my belly button . . . She said that my umbilical cord was like a ribbon that connected me to Mami. She said, “It doesn’t matter that there’s a distance btween us now. That cord is there forever.” When Reyna Grande’s father leaves his wife and three children behind in a village in Mexico to make the dangerous trek across the border to the United States, he promises he will soon return from “El Otro Lado” (The Other Side) with enough money to build them a dream house where they can all live together. His promises become harder to believe as months turn into years. When he summons his wife to join him, Reyna and her siblings are deposited in the already overburdened household of their stern, unsmiling grandmother. The three siblings are forced to look out for themselves; in childish games they find a way to forget the pain of abandonment and learn to solve very adult problems. When their mother at last returns, the reunion sets the stage for a dramatic new chapter in Reyna’s young life: her own journey to “El Otro Lado” to live with the man who has haunted her imagination for years, her long-absent father. In this extraordinary memoir, award-winning writer Reyna Grande vividly brings to life her tumultuous early years, capturing all the confusion and contradictions of childhood, especially one spent torn between two parents and two countries. Elated when she feels the glow of her father’s love and approval, Reyna knows that at any moment he might turn angry or violent. Only in books and music and her rich imaginary life does she find solace, a momentary refuge from a world in which every place feels like “El Otro Lado.” The Distance Between Us captures one girl’s passage from childhood to adolescence and beyond. A funny, heartbreaking, lyrical story, it reminds us that the joys and sorrows of childhood are always with us, invisible to the eye but imprinted on the heart, forever calling out to us of those places we first called home.

    From a spectrum of backgrounds—urban and rural, wealthy and poor, mixed race, immigrants, and more—Black Enough showcases diversity within diversity.Whether it’s New York Times bestselling author Jason Reynolds writing about #blackboyjoy or Newberry Honor-winning author Renee Watson talking about black girls at camp in Portland, or emerging author Jay Coles’s story about two cowboys kissing in the south—Black Enough is an essential collection full of captivating coming-of-age stories about what it’s like to be young and black in America.

    Fortunately, she recorded the journey in her diary, and her story is funny, slyly insightful, and surprisingly universal. A Los Angeles Times bestseller, Lori’s story is being made into a motion picture film by Martin Scorsese’s company, Carpo Productions.

    Their compilation includes new fiction, nonfiction, poetry, comics, and the category-defying gems that have become one of the hallmarks of this lively collection.Divine Providence / Quim Monzo --An excerpt from Notes of a Crocodile / Qiu Miaojin --This Rain / Catherine Pond --My Family's Slave / Alex Tizon --Eight Bites / Carmen Maria Machado --The Deaths of Henry King / Jesse Ball and Brain Evenson --A Refuge for Jae-In Doe: Fugues in the key of English major / Seo-Young Chu --In conversation with Vi Khi Nao / Stacey Tran --Come and Eat the World's largest shrimp cocktail in Mexico's Massacre Capital / Diego Enrique Osorno --The Uninhabitable Earth / David Wallace-Wells --An excerpt from Hunger / Roxane Gay --An excerpt from Blacks and the Master/Slave Relation / Frank B Wilderson III --A Tribute to Alvin Buenaventura / Andrew Leland, Chris Ware, Daniel Clowes and Anders Nilsen --Six selected comics / Chris (Simpsons artist) --Artist's Statement / Kara Walker --Wave at the People Walking Upside Down / Tongo Eisen-Martin --Meanwhile, on Another Planet / Gunnhild Oyehaug --The David Party / David Leavitt --The Reenactors / Katherine Augusta Mayfield --Your Black Friend / Ben Passmore --Collective Nouns for Humans in the Wild / Kathy Fish --Cat Person / Kristen Roupenian --An Excerpt from The Antipodes / Annie Baker --A Fair Accusation of Sexual Harassment or a Witch Hunt? / Lucy Huber --Lizard-Baby / Benjamin Schaefer --Chasing Waterfalls / László Krasznahorkai --Love, Death & Trousers: Eight Found Stories / Laura Francis and Alexander Masters --On Future and Working Through What Hurts / Hanif Abdurraqib --The Universe Would Be So Cruel / Souvankham Thammavongsa --A Love Story / Samantha Hunt

    In "Soulmates," by Marian Keyes, one woman's relationship is so bleedin' perfect that it's driving her friends crazy. In Cathy Kelly's "Thelma, Louise and the Lurve Gods," two women on a madcap Stateside road trip encounter a pair of insanely good-looking men....These fabulous stories and a baker's dozen more prove that when it comes to spinning a good yarn, the Irish are the best in the business.

      You don’t have to break the rules if you make the rules. Case in point: Jack Reacher, the two-fisted, quick-witted, “current poster-boy of American crime fiction” (Los Angeles Times). The brainchild of #1 New York Times bestselling author Lee Child, Reacher is a freelance troubleshooter with a mysterious past—and a serious passion for justice.  Now the hard-won knowledge and hard-hitting strategies of fiction’s toughest tough guy are within every thriller reader’s reach—in a rapid-fire rundown of the trade secrets, tried-and-true tricks, and time-honored tactics that separate the man in the street from the man to beat.  Rule 1. When in doubt, drink coffee.Rule 2. Never volunteer for anything.Rule 3. Don’t break the furniture.Rule 4. Only one woman at a time.Rule 5. Show them what they’re messing with.Please note: Jack Reacher’s Rules is a compilation of advice, wisdom, and facts from the Jack Reacher series of novels by #1 New York Times bestselling author Lee Child. It features an introduction by Lee Child, but is not a Jack Reacher novel.

    With her “perfect” sister, Margo, home for her “perfect” internship, Jane is not going to be able to spend the summer writing fan fiction, as she had planned. And her emergency babysitting job requires Jane to spend the whole summer in awkward proximity to her new crush, Teo, a nerdy-hot lifeguard with problems of his own. With his best friend out of town, Teo finds himself without anyone to confide in…except Jane. Will Jane and Teo be able to salvage each other’s summer? Even the Magic 8 Ball doesn’t have an answer…but signs point to yes.

    Now, at a veritable fairy-tale moment—witness the popular television shows Grimm and Once Upon a Time and this year’s two movie adaptations of “Snow White”—Philip Pullman, one of the most popular authors of our time, makes us fall in love all over again with the immortal tales of the Brothers Grimm.From much-loved stories like “Cinderella” and “Rumpelstiltskin,” “Rapunzel” and “Hansel and Gretel” to lesser-known treasures like “Briar-Rose,” “Thousandfurs,” and “The Girl with No Hands,” Pullman retells his fifty favorites, paying homage to the tales that inspired his unique creative vision—and that continue to cast their spell on the Western imagination.

    Honestly, though? I think the answer’s much simpler than that. Color outside the Lines is a collection of stories about young, fierce, brilliantly hopeful people in love.—Sangu Mandanna, editor of Color outside the Lines

    . . all-night parties . . .Going away to college means total independence and freedom. Unless of course your freshman year is taped and televised for all the world to watch. On uncensored cable.Sweet and normal Ally Cavanaugh is one of five freshpeople shacking up on In the House, a reality show filmed on her college campus. (As if school isn't panic-inducing enough!) The cameras stalk her like paparazzi, but they also capture the fun that is new friends, old crushes, and learning to live on your own. Sure, the camera adds ten pounds, but with the freshman fifteen a given anyway, who cares? Ally's got bigger issues -- like how her long-distance bf can watch her loopy late-night "episode" with a certain housemate. . . . Freshman year on film. It's outrageous.It's juicy.And like all good reality TV,it's impossible to turn off.

    Our crushes, our embarrassing stories, our secrets—but sometimes there are truths so deep and dark that we can't tell anyone. Not our parents, not our sisters...not even our best friends. Some secrets are so unspeakable that we keep them safely locked away so no one will ever discover them.But what happens when they become more than you can handle alone? In these two magnificent novels, two girls can't tell anyone about the terrible burdens they carry. But as they're about to learn, it's not our secrets that matter most—but those who still love us once they learn the truth.

    Moving between the South of France, the East Coast of the U.S., and Algeria, The Last Life explores the weight of isolation and exile in one French family. Of course, the adjective French is already inadequate, as at least some of the LaBasses still long for the paradise lost of Algeria. And Alex LaBasse's wife, Carol, try as she might with her Continental impersonations, will always be an American sporting a metaphorical twin set. The narrator, Sagesse, too, soon finds herself equally stranded. Only her autocratic grandfather, Jacques, is ostensibly comfortable with the identity he has wrought: successful owner of the Bellevue Hotel and head of his dynasty. It is thanks to this man that 14-year-old Sagesse comes to crave invisibility. Having lost of all of her friends, she sees herself as "a member of the Witness Protection Program, surrounded by an odd human assortment chosen only for the efficiency of disguise; but somehow, nevertheless, inescapable."The cause of this loss? Jacques, fed up with Sagesse and her pals' late-night noise at the hotel pool--or perhaps with their failure to take him seriously--shoots at one girl. This incident ruptures life for each LaBasse, the Bellevue no longer "their bulwark against absurdity." Looking back on the crucial two years following the patriarch's "target practice," Sagesse possesses both a teenager's slant self-interest and an older, acute eye for the mechanisms of shame. The Last Life is that rare thing, a fast-moving philosophical novel masquerading as a bildungsroman. In her efforts at identity and affection, its heroine is increasingly alive to the subterfuges of narrative, forcing herself to sort through versions of reality. Her grandmother, for instance, relates one myth about her husband, only to have Carol undercut it entirely. And Sagesse herself can't figure out whether Jacques is "sentimental or heartless." What if both, she realizes, are possible?As Messud's narrator navigates her way through the past--and the Algerian sections are among the book's most extraordinary--there is everything to savor in her wavelike sentences, many of which possess a dangerously witty undertow. And the scenes of familial tedium are the opposite of tedious. The dialogue snaps with subverted emotion, anxiety, and irony. At one of the LaBasses' bleaker fests, much is made of the mouna, a special (if dry) Algerian cake. Nonetheless, the grandmother does her best to fob it off at evening's end. "I've never cared for it myself, although it's a lovely memory." Retrospect, as Sagesse realizes, is "a light in which we may not see more clearly, but at least have the illusion of doing so."

    It’s the first time her family has been there since her grandmother died, and she can’t break out of her funk. But her summer takes a turn for the better when she meets a boy who works in the bookstore. Josh is cute, sweet, funny…and best of all, seems to like her as much as she likes him. As the days pass by in a blur of boat rides, picnics, and stolen kisses, she can’t believe how lucky she is. No one has ever made her feel so special, or so beautiful.But Chelsea knows her days with Josh are numbered. She’ll be heading home at the end of the summer—and he’ll be staying behind. Will this be Chelsea’s summer of love? Or will it be the summer of her broken heart?