Two little girls stand with their heads bowed in my living room. I’m told they’re my granddaughters. Daisy is nine, and Alice seven. Daisy is the spitting image of her mother. This is the first time I’ve met them since my daughter and I fell out after she married that waste of space, Vince. They’ve come to live with me because their mother — my daughter — was murdered. In her own home while they slept close by. I think Vince killed her. But the police can’t prove it. I’ve always known he was no good. He treated my daughter like dirt. I said he’d cheat on her — but she wouldn’t listen.

Who is Audrey Hoedemaker? It's a question her sister Maureen has heard more times than she can count, and she doesn't know what the short answer would be. Little sister, troubled teen, backpacker, musical theatre coach, con artist, childcare worker. Murderer. A tragic, traumatic childhood casts a long shadow on the Hoedemaker sisters. Maureen has worked hard to move beyond the violence of the past and build a good, honest life for herself. Audrey, however, just can't seem to do the same, careening from one state of chaos to another.

Lucas knows the perfect night entails just three things: video games, wine, and pad thai. Peanuts are a must! Other people? Not so much. Why complicate things when he’s happy alone? Then one day the apartment board, a vexing trio of authority, rings his doorbell. And Lucas’s solitude takes a startling hike. They demand to see his frying pan. Someone left one next to the recycling room overnight, and instead of removing the errant object, as Lucas suggests, they insist on finding the guilty party. But their plan backfires. Colossally.

It’s 1984, and life has changed beyond recognition. Airstrip One, formerly known as Great Britain, is a place where Big Brother is always watching, and nobody can hide. Except, perhaps, for Winston Smith. Whilst working at the Ministry of Truth, rewriting history, he secretly dreams of freedom. And in a world where love and sex are forbidden, where it’s hard to distinguish between friend and foe, he meets Julia and O’Brien and vows to rebel.

The 13 chapters of The Art of War, each devoted to one aspect of warfare, were compiled by the high-ranking Chinese military general, strategist, and philosopher Sun-Tzu. In spite of its battlefield specificity, The Art of War has found new life in the modern age, with leaders in fields as wide and far-reaching as world politics, human psychology, and corporate strategy finding valuable insight in its timeworn words.

Belle likes to think herself immune to the dizzying effects of fabulous wealth. But when her best friend, Summer, invites her on a glamorous getaway to the Mediterranean aboard her billionaire boyfriend's yacht, the only sensible answer is yes. Belle hopes the trip will be a much-needed break from her stalled acting career and uniquely humiliating waitressing job, but once she's aboard the luxurious Lion's Den, it soon becomes clear this jet-setting holiday is not as advertised.

Reeling from the sudden death of his teenage son, our narrator receives a letter from an attorney: he has just inherited a plot of land from his estranged grandfather. He travels to a beach town several hours south of his home with the intention of immediately selling the land. But upon inspection, what lies beneath the dirt is much more than he can process in the throes of grief. As a biracial Black man struggling with the many facets of his identity, he’s now the owner of a former plantation passed down by the men on his white mother’s side of the family.

From the porch of his home, Charles Lamosway has watched the life he might have had unfold across the river on Maine’s Penobscot Reservation. On the far bank, he caught brief moments of Roger and Mary raising their only child, Elizabeth from the day she came home from the hospital to her early twenties. But there’s always been something deeper and more dangerous than the river that divides him from this family and the rest of the tribal community. It’s the secret that Elizabeth is his daughter, a secret Charles is no longer willing to keep.

A dazzling and ambitious debut novel that follows a cosmopolitan Shanghai household backward in time—beginning in 2040 and moving through our present and the recent past—exploring their secrets, their losses, and the ways a family makes and remakes itself across the years.

From the outside, Isabel doesn’t seem to have much going on. It’s the summer after college graduation, and she’s moved back to her hometown, where she spends her days house-sitting, babysitting, working the front desk at a yoga studio, and hanging out with her friend Ellie. But on the inside, Isabel’s mind is always running, always analyzing, and right now, she’s trying hard to not let her thoughts give weight to boys. So when Isabel spots three baby skunks in the yard, their presence is not only a strangely thrilling break from the expected, it feels like a fortuitous sign from the universe.

With camera in hand, Raboteau goes in search of birds, fluttering in the air or painted on buildings, and ways her children may safely play in city parks while avoiding pollution, pandemics, and the police. She ventures abroad to learn from indigenous peoples, and in her own family and community discovers the most intimate meanings of resilience. Raboteau bears witness to the inner life of Black women/motherhood, and to the brutalities and possibilities of cities, while celebrating the beauty and fragility of nature.

In “The Center for Immortality Research,” a low-level employee runs herself ragged planning a fancy gala for donors, only to be blamed for a crime she witnessed during the event, under the noses of the mysterious celebrity benefactors hoping to live forever. But she can’t be fired—no one can. In “One More Kiss, Dear,” a tender, one-sided love blooms in the AI-elevator of an apartment complex; as in, the elevator develops a profound affection for one of the residents.

The trip was supposed to be fun. When Kit’s best friend gets dumped by his boyfriend, he begs her to ditch her family responsibilities for an idyllic weekend in the Montana mountains. They’ll soak in hot springs, then sneak a vape into a dive bar and drink too much, like old times. Instead, their getaway only reminds Kit of everything she’s lost lately: her wildness, her independence, and—most heartbreaking of all—her sister, Julie, who died a few years ago.

Come to Paris, August 2021, when the City of Lights was still empty of tourists and a thirst for long-overdue pleasure gripped those who wandered its streets. After New York City emptied out in March 2020, Glynnis MacNicol, aged forty-six, unmarried with no children, spent sixteen months alone in her tiny Manhattan apartment. The isolation was punishing. A year without touch. Women are warned of invisibility as they age, but this was an extreme loneliness no one can prepare you for. When the opportunity to sublet a friend’s apartment in Paris arose, MacNicol jumped on it.

It’s been a year since his ex-boyfriend dumped him and moved from Auckland to Buenos Aires, and Valdin is doing fine. He has a good flat with his sister Greta, a good career where his colleagues only occasionally remind him that he is the sole Maaori person in the office, and a good friend who he only sleeps with when he’s sad. But when work sends him to Argentina and he’s thrown back in his former lover’s orbit, Valdin is forced to confront the feelings he’s been trying to ignore—and the future he wants.

Leslie Jamison has become one of our most beloved contemporary voices, a scribe of the real, the true, the complex. But while Jamison has never shied away from challenging material—scouring her own psyche and digging into our most unanswerable questions across four books—Splinters enters a new realm. In her first memoir, Jamison turns her unrivaled powers of perception on some of the most intimate relationships of her life: her consuming love for her young daughter, a ruptured marriage once swollen with hope, and the shaping legacy of her own parents’ complicated bond.

In the early 1980s, Giselle Chin, Jackie Ong, and Ellen Ng are three teenagers drawn together by their shared sense of alienation and desire for something different. “Allied in the weirdest parts of themselves,” they envision each other as artistic collaborators and embark on a future defined by freedom and creativity. By the time they are adults, their dreams are murkier.

Grief Is for People is a deeply moving and surprisingly suspenseful portrait of friendship, and a book about loss packed with verve for life. Sloane Crosley is one of our most renowned observers of contemporary behavior, and now the pathos that has been ever present in her trademark wit is on full display. After the pain and confusion of losing her closest friend to suicide, Crosley looks for answers in friends, philosophy, and art, hoping for a framework more useful than the unavoidable stages of grief.

It is said that the canal will be the greatest feat of engineering in history. But first, it must be built. For Francisco, a local fisherman who resents the foreign powers clamoring for a slice of his country, nothing is more upsetting than the decision of his son, Omar, to work as a digger in the excavation zone. But for Omar, whose upbringing was quiet and lonely, this job offers a chance to finally find connection.

In the spring of 1972, twelve-year-old Tomoko leaves her mother behind in Tokyo and boards a train alone for Ashiya, a coastal town in Japan, to stay with her aunt’s family. Tomoko’s aunt is an enigma and an outlier in her working-class family, and her magnificent home—and handsome foreign husband, the president of a soft drink company—are symbols of that status. The seventeen rooms are filled with German-made furnishings; there are sprawling gardens and even an old zoo where the family’s pygmy hippopotamus resides.