No Happy Endings is an audiobook for people living life after life has fallen apart. It’s an audiobook for people who know they’re moving forward, not moving on. It’s an audiobook for people who know life isn’t always happy, but it isn’t the end: There will be unimaginable joy and incomprehensible tragedy. As Nora reminds us, there will be no happy endings - but there will be new beginnings.

Like many, Ali Wentworth spent the pandemic seesawing between highs, lows, and baking an unnecessary amount of chocolate cake. Between binging every tv show in existence to conquering TikTok to becoming a (semi) empty-nester, Ali experienced her share of turmoil (including an early case of COVID), but she also grew a little, learned a lot, and found comfort in some unexpected people and places. In Ali’s Well That Ends Well, Wentworth turns her gimlet eye to the year no one saw coming.

The first short story collection by the Pulitzer Prize-winning author and master of the form since her number one New York Times best seller Unaccustomed Earth. Rome—metropolis and monument, suspended between past and future, multi-faceted and metaphysical—is the protagonist, not the setting, of these nine stories.

Lorrie Moore’s first novel since A Gate at the Stairs—a daring, meditative exploration of love and death, passion and grief, and what it means to be haunted by the past, both by history and the human heart. A teacher visiting his dying brother in the Bronx. A mysterious journal from the nineteenth century stolen from a boarding house. A therapy clown and an assassin, both presumed dead, but perhaps not dead at all...

Steve Martin met his good friend Adam Gopnik three decades ago, and in that time, Gopnik has always marveled at Martin’s ability to flourish in a wide variety of artforms: magic, comedy, art collecting, writing, and music. In So Many Steves: Afternoons with Steve Martin, New Yorker writer Adam Gopnik creates a new type of profile: a year’s worth of conversations with Martin where Gopnik pulls back the curtain on his friend’s illustrious career.

The final novel of one of America’s most beloved writers - a tale of degeneration, corruption, and spiritual crisis. A Penguin Classic In awarding John Steinbeck the 1962 Nobel Prize in Literature, the Nobel committee stated that with The Winter of Our Discontent, he had “resumed his position as an independent expounder of the truth, with an unbiased instinct for what is genuinely American". Ethan Allen Hawley, the protagonist of Steinbeck’s last novel, works as a clerk in a grocery store that his family once owned.

Piranesi lives in the House. Perhaps he always has. In his notebooks, day after day, he makes a clear and careful record of its wonders: the labyrinth of halls, the thousands upon thousands of statues, the tides that thunder up staircases, the clouds that move in slow procession through the upper halls. On Tuesdays and Fridays Piranesi sees his friend, the Other. At other times he brings tributes of food to the Dead. But mostly, he is alone.

Throughout her childhood, Carlisle Martin got to see her father, Robert, for only a few precious weeks a year when she visited the brownstone apartment in Greenwich Village he shared with his partner, James. Brilliant but troubled, James gave Carlisle an education in all that he held dear in life—literature, music, and, most of all, dance.

As a child, Natsuki doesn’t fit into her family. Her parents favor her sister, and her best friend is a plush toy hedgehog named Piyyut who has explained to her that he has come from the planet Popinpobopia on a special quest to help her save the Earth.

When Carrie Fisher recently discovered the journals she kept during the filming of the first Star Wars movie, she was astonished to see what they had preserved—plaintive love poems, unbridled musings with youthful naiveté, and a vulnerability that she barely recognized. Today, her fame as an author, actress, and pop-culture icon is indisputable, but in 1977, Carrie Fisher was just a teenager with an all-consuming crush on her costar, Harrison Ford.

The Goldfinch is a haunted odyssey through present-day America and a drama of enthralling force and acuity. It begins with a boy. Theo Decker, a 13-year-old New Yorker, miraculously survives an accident that kills his mother. Abandoned by his father, Theo is taken in by the family of a wealthy friend. Bewildered by his strange new home on Park Avenue, disturbed by schoolmates who don't know how to talk to him, and tormented above all by his unbearable longing for his mother, he clings to one thing that reminds him of her: a small, mysteriously captivating painting that ultimately draws Theo into the underworld of art.

Gifty is a sixth-year PhD candidate in neuroscience at the Stanford University School of Medicine studying reward-seeking behavior in mice and the neural circuits of depression and addiction. Her brother, Nana, was a gifted high school athlete who died of a heroin overdose after an ankle injury left him hooked on OxyContin. Her suicidal mother is living in her bed. Gifty is determined to discover the scientific basis for the suffering she sees all around her.

Danielle Evans is widely acclaimed for her blisteringly smart voice and X-ray insights into complex human relationships. With The Office of Historical Corrections, Evans zooms in on particular moments and relationships in her characters’ lives in a way that allows them to speak to larger issues of race, culture, and history. She introduces us to Black and multiracial characters who are experiencing the universal confusions of lust and love, and getting walloped by grief - all while exploring how history haunts us, personally and collectively.

Adelaide Henry carries an enormous steamer trunk with her wherever she goes. It’s locked at all times. Because when the trunk opens, people around Adelaide start to disappear. The year is 1915, and Adelaide is in trouble. Her secret sin killed her parents, forcing her to flee California in a hellfire rush and make her way to Montana as a homesteader.

Alexandra Auder’s life began at the Chelsea Hotel—New York City’s infamous bohemian hangout—when her mother, Viva, a longtime resident of the hotel and one of Andy Warhol’s superstars, went into labor in the lobby. These first moments of Alexandra’s life, documented by her filmmaker father, Michel Auder, portended the whirlwind childhood and teen years that she would go on to have. At the center of it all is Viva: a glamorous, larger-than-life woman with mercurial moods.