With memories locked away, the sisters take divergent paths. Callie disappears, Mimi keeps so busy she has no time to think, and Ginger develops a lifelong aversion to risk that threatens the relationships she holds most dear.When a whispered comment overheard by her rebellious teenage daughter forces Ginger to reveal a long-held family secret, the Tangles’ carefully constructed web of lies begins to unravel. Upon the death of Glory, the family’s colorful matriarch, and the return of long-estranged Callie, Ginger resolves to return to Martha’s Vineyard and piece together what really happened on that calamitous day when a shadow fell over four sun-kissed siblings playing at the shore. Along with Ginger’s newfound understanding come the keys to reconciliation: with her mother, with her sisters, and with her daughter.At turns heartbreaking, humorous, and hopeful, Sisters One, Two, Three explores not only the consequences of secrets—even secrets kept out of love—but also the courage it takes to speak the truth, to forgive, and to let go.

    Is she an impostor in her own life? she asks herself. Is it indeed her own life? Or is it someone else’s?On the surface, Beck, as she is known to the Davitch clan, is outgoing, joyous, a natural celebrator. Giving parties is, after all, her vocation—something she slipped into even before finishing college, when Joe Davitch spotted her at an engagement party in his family’s crumbling nineteenth-century Baltimore row house, where giving parties was the family business. What caught his fancy was that she seemed to be having such a wonderful time. Soon this large-spirited older man, a divorcé with three little girls, swept her into his orbit, and before she knew it she was embracing his extended family plus a child of their own, and hosting endless parties in the ornate, high-ceilinged rooms of The Open Arms.Now, some thirty years later, after presiding over a disastrous family picnic, Rebecca is caught un-awares by the question of who she really is. How she answers it—how she tries to recover her girlhood self, that dignified grownup she had once been—is the story told in this beguiling, funny, and deeply moving novel.As always with Anne Tyler’s novels, once we enter her world it is hard to leave. But in Back When We Were Grownups she so sharpens our perceptions and awakens so many untapped feelings that we come away not only refreshed and delighted, but also infinitely wiser.

    Her mourning is disrupted, however, by the unexpected arrival of a builder with a contract to add a porch onto her house. Stunned, Janie realizes the porch was meant to be a surprise from her husband—now his last gift to her.As she reluctantly allows construction to begin, Janie clings to the familiar outposts of her sorrow—mothering her two small children with fierce protectiveness, avoiding friends and family, and stewing in a rage she can't release. Yet Janie's self-imposed isolation is breached by a cast of unlikely interventionists: her chattering, ipecac-toting aunt; her bossy, over-manicured neighbor; her muffin-bearing cousin; and even Tug, the contractor with a private grief all his own.As the porch takes shape, Janie discovers that the unknowable terrain of the future is best navigated with the help of others—even those we least expect to call on, much less learn to love.

    But by the time Madeline inherits the shop nearly twenty years later, family troubles and her own bitter losses have hardened Madeline’s heart toward her once-treasured aunt—and the now struggling bookshop left in her care.While Madeline intends to sell the shop as quickly as possible, the Printed Letter’s two employees have other ideas. Reeling from a recent divorce, Janet finds sanctuary within the books and within the decadent window displays she creates. Claire, though quieter than the acerbic Janet, feels equally drawn to the daily rhythms of the shop and its loyal clientele, finding a renewed purpose within its walls. When Madeline’s professional life takes an unexpected turn, and when a handsome gardener upends all her preconceived notions, she questions her plans and her heart. She begins to envision a new path for herself and for her aunt’s beloved shop—provided the women’s best combined efforts are not too little, too late.The Printed Letter Bookshop is a captivating story of good books, a testament to the beauty of new beginnings, and a sweet reminder of the power of friendship.

    But so far, all she has to show for her efforts is a single line in an ad for ugly Christmas sweaters and a degrading waitressing job. She lives in Brooklyn with two roommates - Jane, her best friend from college, and Dan, a sci-fi writer, who is very definitely not boyfriend material - and is struggling with her feelings for a suspiciously charming guy in her acting class, all while trying to find a hair-product cocktail that actually works. Meanwhile, she dreams of doing "important" work, but only ever seems to get auditions for dishwashing liquid and peanut butter commercials. It's hard to tell if she'll run out of time or money first, but either way, failure would mean facing the fact that she has absolutely no skills to make it in the real world. Her father wants her to come home and teach, her agent won't call her back, and her classmate Penelope, who seems supportive, might just turn out to be her toughest competition yet. Someday, Someday, Maybe is a funny and charming debut about finding yourself, finding love, and, most difficult of all, finding an acting job.

    The photograph is in an envelope marked "DON'T OPEN - DESTROY." But Kath's husband does not heed the warning, embarking on a journey of discovery that reveals a tight web of secrets: within marriages, between sisters, and at the heart of an affair. Kath, with her mesmerizing looks and casual ways, moves like a ghost through the memories of everyone who knew her - and a portrait emerges of a woman whose life cannot be understood without plumbing the emotional depths of the people she touched.Propelled by the author's signature mastery of narrative and psychology, The Photograph is Lively at her very best, the dazzling climax to all she has written before.

    In the tradition of Jonathan Tropper and Tom Perrotta comes Matthew Norman's Domestic Violets—a darkly comic family drama about one man’s improbable trials of love, loss, and ambition; of attraction, impotence, and infidelity; and of mid-life malaise, poorly-planned revenge, and the Pulitzer Prize for Fiction.