The #1 New York Times bestselling author of the Gossip Girl series brings her sharp-eyed and irresistible wit to this “quirky novel of lovable misfits” (Publishers Weekly) chronicling a year in the lives of four families in an upscale Brooklyn neighborhood as they seek purpose and community—until one unforgettable night at a raucous neighborhood party knocks them to their senses. Welcome to Cobble Hill. In this eclectic Brooklyn neighborhood, private storms brew amongst four married couples and their children. There’s ex-groupie Mandy, so underwhelmed by motherhood and her current physical state that she fakes a debilitating disease to get the attention of her skateboarding, ex-boyband member husband Stuart. There’s the unconventional new school nurse, Peaches, on whom Stuart has an unrequited crush, and her disappointing husband Greg, who wears noise-cancelling headphones—everywhere. A few blocks away, Roy, a well-known, newly transplanted British novelist, has lost the thread of his next novel and his marriage to indefatigable Wendy. Around the corner, Tupper, the nervous, introverted industrial designer with a warehouse full of prosthetic limbs struggles to pin down his elusive artist wife Elizabeth. Throw in two hormonal teenagers, a ten-year-old pyromaniac, a drug dealer pretending to be a doctor, and a lot of hidden cameras, and you’ve got a combustible mix of egos, desires, and secrets bubbling in brownstone Brooklyn. “Breezy, witty, and compulsively fun to read” (Kirkus Reviews), Cobble Hill is highly entertaining portrait of contemporary family life and the colorful characters who call Brooklyn home.

Mindwell Gibbs, a young girl in late eighteenth century Connecticut, works as an indentured servant in the tavern at Cobble Hill.

Considered one of the city's most notorious industrial slums in the 1940s and 1950s, Brownstone Brooklyn by the 1980s had become a post-industrial landscape of hip bars, yoga studios, and beautifully renovated, wildly expensive townhouses. In The Invention of Brownstone Brooklyn, Suleiman Osman offers a groundbreaking history of this unexpected transformation. Challenging the conventional wisdom that New York City's renaissance started in the 1990s, Osman locates the origins of gentrification in Brooklyn in the cultural upheavals of the 1960s and 1970s. Gentrification began as a grassroots movement led by young and idealistic white college graduates searching for "authenticity" and life outside the burgeoning suburbs. Where postwar city leaders championed slum clearance and modern architecture, "brownstoners" (as they called themselves) fought for a new romantic urban ideal that celebrated historic buildings, industrial lofts and traditional ethnic neighborhoods as a refuge from an increasingly technocratic society. Osman examines the emergence of a "slow-growth" progressive coalition as brownstoners joined with poorer residents to battle city planners and local machine politicians. But as brownstoners migrated into poorer areas, race and class tensions emerged, and by the 1980s, as newspapers parodied yuppies and anti-gentrification activists marched through increasingly expensive neighborhoods, brownstoners debated whether their search for authenticity had been a success or failure.

Some of the northern Adirondacks' most beloved ski areas have sadly not survived the test of time despite the pristine powder found from the High Peaks to the St. Lawrence. Even after hosting the Winter Olympics twice, Lake Placid hides fourteen abandoned ski areas. In the Whiteface area, the once-prosperous resort Paleface, or Bassett Mountain, succumbed after a series of bad winters. Juniper Hills was "the biggest little hill in the North Country" and welcomed families in the Northern Tier for more than fifteen years. Big Tupper in Tupper Lake and Otis Mountain in Elizabethtown defied the odds and were lovingly restored in recent years. Jeremy Davis of the New England/Northeast Lost Ski Areas Project rediscovers these lost trails and shares beloved memories of the people who skied on them.

"Delicious . . . richly riveting . . . The Vacationers offers all the delights of a fluffy, read-it-with-sunglasses-on-the-beach read, made substantial by the exceptional wit, insight, intelligence and talents of its author.”—People (four stars) An irresistible, deftly observed novel from the New York Times-bestselling author of All Adults Here and This Time Tomorrow— about the secrets, joys, and jealousies that rise to the surface over the course of an American family’s two-week stay in Mallorca. For the Posts, a two-week trip to the Balearic island of Mallorca with their extended family and friends is a celebration: Franny and Jim are observing their thirty-fifth wedding anniversary, and their daughter, Sylvia, has graduated from high school. The sunlit island, its mountains and beaches, its tapas and tennis courts, also promise an escape from the tensions simmering at home in Manhattan. But all does not go according to plan: over the course of the vacation, secrets come to light, old and new humiliations are experienced, childhood rivalries resurface, and ancient wounds are exacerbated. This is a story of the sides of ourselves that we choose to show and those we try to conceal, of the ways we tear each other down and build each other up again, and the bonds that ultimately hold us together. With wry humor and tremendous heart, Emma Straub delivers a richly satisfying story of a family in the midst of a maelstrom of change, emerging irrevocably altered yet whole.

One of The Atlantic's Great American Novels One of the New York Times' 25 Most Significant New York City Novels From the Last 100 Years "A towering landmark of postwar Realism…A sustained work of prose so lucid and fine it seems less written than carved." —David Foster Wallace Otto and Sophie Bentwood live in a changing neighborhood in Brooklyn. Their stainless-steel kitchen is newly installed, and their Mercedes is parked curbside. After Sophie is bitten on the hand while trying to feed a stray, perhaps rabies-infected cat, a series of small and ominous disasters begin to plague the Bentwoods' lives, revealing the fault lines and fractures in a marriage—and a society—wrenching itself apart. First published in 1970 to wide acclaim, Desperate Characters stands as one of the most dazzling and rigorous examples of the storyteller's craft in postwar American literature — a novel that, according to Irving Howe, ranks with "Billy Budd, The Great Gatsby, Miss Lonelyhearts, and Seize the Day."

Welcome to Cobble Hill.

A toxic coach finds himself outplayed by the high school girls on his team in this deeply suspenseful novel, which unspools over twenty-four hours through six diverse perspectives. Tomorrow, the Wildcat varsity field hockey squad will play the first game of their new season. But at tonight’s team sleepover, the girls are all about forging the bonds of trust, loyalty, and friendship necessary to win. Everything hinges on the midnight initiation ceremony—a beloved tradition and the only facet of being a Wildcat that the girls control. Until now. Coach—a handsome former college player revered and feared in equal measure—changes the plan and spins his team on a new adventure. One where they take a rival team’s mascot for a joyride, crash a party in their pajamas, break into the high school for the perfect picture. But as the girls slip out of their comfort zone, so do some long-held secrets. And just how far they’re willing to go for their team takes them all—especially Coach—by surprise. A testament to the strength and resilience of modern teenage girls, We Are the Wildcats will have readers cheering.

"I tore through this urgent, timely, and deeply disturbing tale.”—Andrea Bartz, New York Times bestselling author of We Were Never Here Spine-chilling and sharp, Anne Heltzel's Just Like Mother is a modern gothic from a fresh new voice in horror, and “will disturb readers to their core.” (Library Journal) A GoodReads Choice Award Finalist for Best Horror, and named one of the Best Books of 2022 by LitReactor! The last time Maeve saw her cousin was the night she escaped the cult they were raised in. For the past two decades, Maeve has worked hard to build a normal life in New York City, where she keeps everything—and everyone—at a safe distance. When Andrea suddenly reappears, Maeve regains the only true friend she’s ever had. Soon she’s spending more time at Andrea’s remote Catskills estate than in her own cramped apartment. Maeve doesn’t even mind that her cousin’s wealthy work friends clearly disapprove of her single lifestyle. After all, Andrea has made her fortune in the fertility industry—baby fever comes with the territory. The more Maeve immerses herself in Andrea’s world, the more disconnected she feels from her life back in the city; and the cousins’ increasing attachment triggers memories Maeve has fought hard to bury. But confronting the terrors of her childhood may be the only way for Maeve to transcend the nightmare still to come... "A fierce, frightening novel."—Rachel Harrison, author of Cackle At the Publisher's request, this title is being sold without Digital Rights Management Software (DRM) applied.

One-of-a-kind cultural critic and New York Times bestselling author Chuck Klosterman “offers up great facts, interesting cultural insights, and thought-provoking moral calculations in this look at our love affair with the anti-hero” (New York magazine). Chuck Klosterman, “The Ethicist” for The New York Times Magazine, has walked into the darkness. In I Wear the Black Hat, he questions the modern understanding of villainy. When we classify someone as a bad person, what are we really saying, and why are we so obsessed with saying it? How does the culture of malevolence operate? What was so Machiavellian about Machiavelli? Why don’t we see Bernhard Goetz the same way we see Batman? Who is more worthy of our vitriol—Bill Clinton or Don Henley? What was O.J. Simpson’s second-worst decision? And why is Klosterman still haunted by some kid he knew for one week in 1985? Masterfully blending cultural analysis with self-interrogation and imaginative hypotheticals, I Wear the Black Hat delivers perceptive observations on the complexity of the antihero (seemingly the only kind of hero America still creates). As the Los Angeles Times notes: “By underscoring the contradictory, often knee-jerk ways we encounter the heroes and villains of our culture, Klosterman illustrates the passionate but incomplete computations that have come to define American culture—and maybe even American morality.” I Wear the Black Hat is a rare example of serious criticism that’s instantly accessible and really, really funny.