This book weaves together stories of the many dogs Elias has been lucky enough to know, both in his personal life and while doing his Dogist work. Told in a light tone that does not shy away from more serious issues (Elias is not above the occasional sentimental moment or dog pun), this book charmingly explores the ways that dogs are not just our family and our friends but also irreplaceable beings capable of generating boundless love and restoring balance to our lives.

“You were dead, Sarah, you were dead.” In October 2019, Sarah Aziza, daughter and granddaughter of Gazan refugees, is narrowly saved after being hospitalized for an eating disorder. The doctors revive her body, but it is no simple thing to return to the land of the living. Aziza’s crisis is a rupture that brings both her ancestral and personal past into vivid presence. The hauntings begin in the hospital cafeteria, when a mysterious incident summons the familiar voice of her deceased Palestinian grandmother.

Lily—a bored, beautiful twenty-something—wakes up on a remote desert compound, alongside nineteen other contestants competing on a massively popular reality show. To win, she must outlast her housemates to stay in the Compound the longest, while competing in challenges for luxury rewards like champagne and lipstick, plus communal necessities to outfit their new home, like food, appliances, and a front door. Cameras are catching all her angles, good and bad, but Lily has no desire to leave: why would she, when the world outside is falling apart?

In November 1999, Joan Didion began seeing a psychiatrist because, as she wrote to a friend, her family had had “a rough few years.” She described the sessions in a journal she created for her husband, John Gregory Dunne. For several months, Didion recorded conversations with the psychiatrist in meticulous detail. The initial sessions focused on alcoholism, adoption, depression, anxiety, guilt, and the heartbreaking complexities of her relationship with her daughter, Quintana. The subjects evolved to include her work, which she was finding difficult to maintain for sustained periods.

From an early age, Sara Kehaulani Goo was enchanted by her family’s land in Hawai‘i. The vast area on the rugged shores of Maui’s east side—given by King Kamehameha III in 1848—extends from mountain to sea, encompassing ninety acres of lush, undeveloped rainforest jungle along the rocky coastline and a massive sixteenth-century temple with a mysterious past. When a property tax bill arrives with a 500 percent increase, Sara and her family members are forced to make a decision about the property: fight to keep the land or sell to the next offshore millionaire.

Ever since her dad left them twenty years ago, it’s just been Madeline Hill and her mom on their farm in Coalfield, Tennessee. While she sometimes admits it’s a bit lonely and a less exciting life than she imagined for herself, it’s mostly OK. Mostly. Then one day Reuben Hill pulls up in a PT Cruiser and informs Madeline that he believes she’s his half sister.

When Dr. Gul Delani receives a call in the middle of the night from the Sindh police, she thinks they may have finally found her niece, Mahnaz—a precocious, politically conscious teenage girl who went missing three years prior. Gul has been racked with grief since Mahnaz’s disappearance, and distracts herself through work: she’s a talented curator at the Museum of Heritage and History in Karachi, one of the country’s leading experts in archaeology and ancient civilizations, a hard-won position for a woman.

In A Kid from Marlboro Road, past and present intermingle as family stories are told and retold. The narrative careens between the prior generation’s colorful sojourns in the Bronx and Hell’s Kitchen and the softer world of Gibson, the town on Long Island where they live now. There are scenes in the Rockaways, at Belmont racetrack, and in Montauk. Edward Burns’s buoyant first novel is a bildungsroman, yet out of one boy’s story a collective warmth emerges, a certain kind of American tale, raucous and joyous.

In the wake of a catastrophic storm, Cora sets off with her nine-year-old daughter, Maia, to register her son's birth. Her husband, Gordon, a local doctor, respected in the community but a terrifying and controlling presence at home, intends for her to name the infant after him. But when the registrar asks what she'd like to call the child, Cora hesitates...

In the wake of a catastrophic two-year relationship, Melissa Febos decided to take a break: For three months she would abstain from dating, relationships, and sex. Her friends were amused. Did she really think three months was a long time? But to Febos, it was. Ever since her teens, she had been in one relationship after another. As she puts it, she could trace a “daisy chain of romances” from her adolescence to her midthirties. Finally, she would carve out time to focus on herself and examine the patterns that had produced her midlife disaster.

When buried bones are unearthed by a storm in North Yorkshire’s picturesque coastal town of Whitby, Black is drawn into an investigation that takes him back to the late eighties and the fiery demise of a popular pub. Frank is no stranger to vulnerability. With a shattered daughter, he lives with it. With an outsider in Detective Inspector Gerry Carver, he works with it. And in Charlotte Wilson, a young, eighteen-year-old musician discarded and buried near the old whalebones of Whitby, he recognizes it.

Nic wants nothing more than to move on—from her sister’s disappearance and the state it’s left her in. But then one day, Jules’s sister, Jenna Connor, walks into her life and offers Nic something she hasn’t felt in a long time: hope. What follows is a gripping tale of two sisters who will do anything to find their missing halves, even if it means destroying everything they’ve ever known.

Most people don’t even notice them—three tiny figures sitting at the end of a long pier in the corner of one of the most famous paintings in the world. Most people think it’s just a depiction of the sea. But Louisa, an artist herself, knows otherwise and she is determined to find out the story of these three enigmatic figures. Twenty-five years earlier, in a distant town, a group of teenagers find refuge from their difficult home lives by spending their days laughing and telling stories out on a pier.

At forty, Peter, an asylum lawyer in New York City, is overworked and isolated. He spends his days immersed in the struggles of immigrants only to return to an empty apartment and occasional hook-ups with a man who wants more than Peter can give. But when the asylum case of a young gay man pierces Peter's numbness, the event that he has avoided for twenty years returns to haunt him. Ann, his mother, who runs a women's retreat center she founded after leaving his father, is wounded by the estrangement from Peter but cherishes the world she has built.

Amber wakes up in a hospital. She can't move. She can't speak. She can't open her eyes. She can hear everyone around her, but they have no idea. Amber doesn't remember what happened, but she has a suspicion her husband had something to do with it. Alternating between her paralyzed present, the week before her accident, and a series of childhood diaries from 20 years ago, this brilliant psychological thriller asks: Is something really a lie if you believe it's the truth?