Unforgettable Books

"An exhilarating debut novel" (R.O. Kwon, The New York Times Book Review) about the daughter of Afghan refugees and her year of self-discovery--a portrait of the artist as a young woman set in a Berlin that can't escape its history A girl can get in almost anywhere, even if she can't get out.SHORTLISTED FOR THE WOMEN'S PRIZE FOR FICTION - FINALIST FOR THE EDMUND WHITE AWARD FOR DEBUT FICTION AND THE VERMONT BOOK AWARD - LONGLISTED FOR THE DUBLIN LITERARY AWARD AND THE CENTER FOR FICTION FIRST NOVEL PRIZE - A BEST BOOKS OF THE YEAR: Time, Elle, Electric Lit, The Skinny"A no-bullsh*t, must-read debut."--Kaveh Akbar"Kaleidoscopic, full of style and soul."--Raven Leilani"Aber writes with . . . masterful precision."--Leila Lalami, The Atlantic "Once in a blue moon a debut novel comes along, announcing a voice quite unlike any other, with a layered story and sentences that crackle and pop, begging to be read aloud. Aria Aber's splendid Good Girl introduces just such a voice . . . Aber, an award-winning poet, strikes gold here, much like Kaveh Akbar did in last year's acclaimed Martyr!"--Los Angeles Times In Berlin's artistic underground, where techno and drugs fill warehouses still pockmarked from the wars of the twentieth century, nineteen-year-old Nila at last finds her tribe. Born in Germany to Afghan parents, raised in public housing graffitied with swastikas, drawn to philosophy, photography, and sex, Nila has spent her adolescence disappointing her family while searching for her voice as a young woman and artist. Then in the haze of Berlin's legendary nightlife, Nila meets Marlowe, an American writer whose fading literary celebrity opens her eyes to a life of personal and artistic freedom. But as Nila finds herself pulled further into Marlowe's controlling orbit, ugly, barely submerged racial tensions begin to roil Germany--and Nila's family and community. After a year of running from her future, Nila stops to ask herself the most important question: Who does she want to be? A story of love and family, raves and Kafka, staying up all night and surviving the mistakes of youth, Good Girl is the virtuosic debut novel by a celebrated young poet and, now, a major new voice in fiction.

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Finalist for the National Book Critics Circle Award, Autobiography NAMED A BEST BOOK OF THE YEAR BY THE NEW YORKER, TIME, THE WASHINGTON POST, THE WASHINGTON INDEPENDENT REVIEW OF BOOKS, NPR, LIT HUB, ELECTRIC LITERATURE, AND BOOKPAGE "Revelatory." --New York Times Book Review"Essential reading. A companion for turbulent times." --Laura van den Berg"Nothing short of a masterpiece." --The San Francisco Chronicle Internationally bestselling author Miriam Toews' memoir of the will to write--a work of disobedient memory, humor, and exquisite craft set against a content-hungry, prose-stuffed society. "Why do you write?" the organizer of a literary event in Mexico City asks Miriam Toews. Each attempted answer from Toews--all of them unsatisfactory to the organizer--surfaces new layers of grief, guilt, and futility connected to her sister's suicide. She has been keeping up, she realizes, a decades-old internal correspondence, filling a silence she barely understands. And we, her readers, come to see that the question is as impossible to answer as deciding whether to live life as a comedy or a tragedy. Marking the first time Toews has written her own life in nonfiction, A Truce That Is Not Peace explores the uneasy pact a writer makes with memory. Wildly inventive yet masterfully controlled; slyly casual yet momentous; wrenching and joyful; hilarious and humane--this is Miriam Toews at her dazzling best, remaking her world and inventing an astonishing new literary form to contain it.

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A REESE'S BOOK CLUB PICK ∙ AN INSTANT #1 NEW YORK TIMES BESTSELLER ∙ Two writers compete for the chance to tell the larger-than-life story of a woman with more than a couple of plot twists up her sleeve in this dazzling and sweeping novel from Emily Henry. As featured in The New York Times ∙ Rolling Stone ∙ People ∙ Good Morning America ∙ NPR ∙ Vogue ∙ The Los Angeles Times ∙ The Cut ∙ USA Today ∙ Cosmopolitan ∙ Harper's Bazaar ∙ Marie Claire ∙ Glamour ∙ ELLE ∙ E! Online ∙ The New York Post ∙ Bustle ∙ Reader's Digest ∙ BBC ∙ PopSugar ∙ SheReads ∙ Paste ∙ and more! Alice Scott is an eternal optimist still dreaming of her big writing break. Hayden Anderson is a Pulitzer-prize winning human thundercloud. And they're both on balmy Little Crescent Island for the same reason: to write the biography of a woman no one has seen in years--or at least to meet with the octogenarian who claims to be the Margaret Ives. Tragic heiress, former tabloid princess, and daughter of one of the most storied (and scandalous) families of the twentieth century. When Margaret invites them both for a one-month trial period, after which she'll choose the person who'll tell her story, there are three things keeping Alice's head in the game. One: Alice genuinely likes people, which means people usually like Alice--and she has a whole month to win the legendary woman over. Two: She's ready for this job and the chance to impress her perennially unimpressed family with a Serious Publication. Three: Hayden Anderson, who should have no reason to be concerned about losing this book, is glowering at her in a shaken-to-the core way that suggests he sees her as competition. But the problem is, Margaret is only giving each of them pieces of her story. Pieces they can't swap to put together because of an ironclad NDA and an inconvenient yearning pulsing between them every time they're in the same room. And it's becoming abundantly clear that their story--just like the tale Margaret's spinning--could be a mystery, tragedy, or love ballad . . . depending on who's telling it.

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A #1 bestseller on The New York Times, USA Today, Washington Post, and Los Angeles Times! From the celebrated author of The Nightingale and The Four Winds comes Kristin Hannah's The Women--at once an intimate portrait of coming of age in a dangerous time and an epic tale of a nation divided.Women can be heroes. When twenty-year-old nursing student Frances "Frankie" McGrath hears these words, it is a revelation. Raised in the sun-drenched, idyllic world of Southern California and sheltered by her conservative parents, she has always prided herself on doing the right thing. But in 1965, the world is changing, and she suddenly dares to imagine a different future for herself. When her brother ships out to serve in Vietnam, she joins the Army Nurse Corps and follows his path. As green and inexperienced as the men sent to Vietnam to fight, Frankie is over-whelmed by the chaos and destruction of war. Each day is a gamble of life and death, hope and betrayal; friendships run deep and can be shattered in an instant. In war, she meets--and becomes one of--the lucky, the brave, the broken, and the lost. But war is just the beginning for Frankie and her veteran friends. The real battle lies in coming home to a changed and divided America, to angry protesters, and to a country that wants to forget Vietnam. The Women is the story of one woman gone to war, but it shines a light on all women who put themselves in harm's way and whose sacrifice and commitment to their country has too often been forgotten. A novel about deep friendships and bold patriotism, The Women is a richly drawn story with a memorable heroine whose idealism and courage under fire will come to define an era.

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Named One of The New York Times Book Review's Top Ten Books of the Year Winner of the National Book Critics Circle Award for Autobiography Finalist for the Kirkus Prize Nominated for the Women's Prize for Nonfiction One of the best-reviewed books of the year, a raw and deeply moving memoir that "pulses with compassion and moral outrage" (The Wall Street Journal) from the legendary author of The God of Small Things and The Ministry of Utmost Happiness that traces her complex relationship with her mother, Mary Roy, a fierce and formidable force who shaped Arundhati's life both as a woman and a writer. In this, her first work of memoir, Arundhati Roy writes, "Perhaps even more than a daughter mourning the passing of her mother, I mourn her as a writer who has lost her most enthralling subject." Mother Mary Comes to Me, is an intimate chronicle, "full of precise imagery and blistering emotional intelligence" (The Washington Post), of the relationship between two women, a school teacher and a writer, who happen to be mother and daughter. Roy writes with a novelist's unsettling ability to be inside her own story as well as outside it, simultaneously child and adult, attached and detached, protagonist and narrator. She describes how she came to be the writer she is, shaped by circumstance, but above all by her relationship to her extraordinary, singular mother Mary, who she describes as "my shelter and my storm." "Heart-smashed" by Mary's death, yet puzzled and "more than a little ashamed" by the intensity of her response, Roy began to write, to make sense of her feelings about the mother she ran from at age eighteen, "not because I didn't love her, but in order to be able to continue to love her." With the scale, sweep, and depth of her novels and the passion, political clarity, and warmth of her essays, Mother Mary Comes to Me "builds worlds that are revolutionary, made from the darkness that she spins into purpose" (The New Republic). An ode to freedom, a tribute to thorny love and savage grace--Mother Mary Comes to Me is a memoir like no other.

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ONE OF GLAMOUR'S BEST BOOKS FOR BOOK CLUBS - A theater critic at the Edinburgh Festival Fringe writes a vicious one-star review of a struggling actress he has a one-night stand with in this sharply funny, feminist tinderbox. A WASHINGTON POST AND NPR BEST BOOK OF THE YEAR "Excellent...brilliant...a fiery reminder that we still have so far to go when it comes to men behaving poorly and getting away with it."--LitHub "A binge-worthy novel that explores our obsessions, our inner critic, and who we think we are in person and in print. Intimate, real, and really funny. This one has teeth." --Kiley Reid, New York Times bestselling author of Come and Get It and Such a Fun Age Alex Lyons always has his mind made up by the time the curtain comes down at a performance--the show either deserves a five-star rave or a one-star pan. Anything in between is meaningless. On the opening night of the Edinburgh Festival Fringe, he doesn't deliberate over the rating for Hayley Sinclair's show, nor does he hesitate when the opportunity presents itself to have a one-night stand with the struggling actress. Unaware that she's gone home with the theater critic who's just written a career-ending review of her, Hayley wakes up at his apartment to see his scathing one-star critique in print on the kitchen table, and she's not sure which humiliation offends her the most. So she revamps her show into a viral sensation critiquing Alex Lyons himself--entitled son of a famous actress, serial philanderer, and by all accounts a terrible man. Yet Alex remains unapologetic. As his reputation goes up in flames, he insists on telling his unvarnished version of events to his colleague, Sophie. Through her eyes, we see that the deeper she gets pulled into his downfall, the more conflicted she becomes. After all, there are always two sides to every story. A brilliant Trojan horse of a book about art, power, misogyny, and female rage, Bring the House Down is a searing, insightful, and often hilarious debut that captures the blurred line between reality and performance.

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