From Gabrielle Zevin—the author of the critically acclaimed Elsewhere—comes the first book in the Birthright series, All These Things I've Done, a masterful novel about an impossible romance, a mafia family, and the ties that forever bind us. In 2083, chocolate and coffee are illegal, paper is hard to find, water is carefully rationed, and New York City is rife with crime and poverty. And yet, for Anya Balanchine, the sixteen-year-old daughter of the city's most notorious (and dead) crime boss, life is fairly routine. It consists of going to school, taking care of her siblings and her dying grandmother, trying to avoid falling in love with the new assistant D.A.'s son, and avoiding her loser ex-boyfriend. That is until her ex is accidently poisoned by the chocolate her family manufactures and the police think she's to blame. Suddenly, Anya finds herself thrust unwillingly into the spotlight--at school, in the news, and most importantly, within her mafia family.

NEW YORK TIMES BEST SELLER • Sam and Sadie—two college friends, often in love, but never lovers—become creative partners in a dazzling and intricately imagined world of video game design, where success brings them fame, joy, tragedy, duplicity, and, ultimately, a kind of immortality. It is a love story, but not one you have read before. "Delightful and absorbing." —The New York Times • "Utterly brilliant." —John Green One of the Best Books of the Year: The New York Times, Entertainment Weekly, TIME, GoodReads, Oprah Daily From the best-selling author of The Storied Life of A. J. Fikry: On a bitter-cold day, in the December of his junior year at Harvard, Sam Masur exits a subway car and sees, amid the hordes of people waiting on the platform, Sadie Green. He calls her name. For a moment, she pretends she hasn’t heard him, but then, she turns, and a game begins: a legendary collaboration that will launch them to stardom. These friends, intimates since childhood, borrow money, beg favors, and, before even graduating college, they have created their first blockbuster, Ichigo. Overnight, the world is theirs. Not even twenty-five years old, Sam and Sadie are brilliant, successful, and rich, but these qualities won’t protect them from their own creative ambitions or the betrayals of their hearts. Spanning thirty years, from Cambridge, Massachusetts, to Venice Beach, California, and lands in between and far beyond, Gabrielle Zevin’s Tomorrow, and Tomorrow, and Tomorrow examines the multifarious nature of identity, disability, failure, the redemptive possibilities in play, and above all, our need to connect: to be loved and to love.

“SLY, EXHILARATING . . . HILARIOUS.” —People (Book of the Week) This is the story of five women . . . Meet Rachel Grossman. She’ll stop at nothing to protect her daughter, Aviva, even if it ends up costing her everything. Meet Jane Young. She’s disrupting a quiet life with her daughter, Ruby, to seek political office for the first time. Meet Ruby Young. She thinks her mom has a secret. She’s right. Meet Embeth Levin. She’s made a career of cleaning up her congressman husband’s messes. Meet Aviva Grossman. The Internet won’t let her or anyone else forget her past transgressions. This is the story of five women . . . . . . and the sex scandal that binds them together. From Gabrielle Zevin, the bestselling author of The Storied Life of A. J. Fikry, comes another story with unforgettable characters that is particularly suited to the times we live in now . . .

"The stories people tell about themselves are interesting not only for the events and characters they describe but for something in the construction of the stories themselves. The ways in which individuals recount their histories--what they emphasize and omit, their stance as protagonists or victims, the relationship the story establishes between teller and audience--all shape what individuals can claim of their own lives. Personal stories are not merely a way of telling someone (or oneself) about one's life; they are the means by which identities may be fashioned."--from the Introduction In this provocative book, psychologists, anthropologists, and sociologists analyze interviews with a range of subjects--a minister who uses the death of his son to reaffirm his identity as a man of God, women who have given up their children at birth for adoption and who blame society for their action, Holocaust survivors, a victim of marital rape, and many others. Together these studies suggest a new way of thinking about autobiographical narratives: that these life stories play a significant role in the formation of identity, that the way they are told is shaped (and at times curtailed) by prevalent cultural norms, and that the stories--and at times the lives to which they relate--may be liberated from their psychic and social constraints if the social conditions of story telling can be critically engaged. Presenting a wide range of life stories, these studies demonstrate how "telling one's life" has the potential to clarify or mystify one's commitments and to animate or encumber one's future development.

Presents a novel of hope, love, and redemption.

Cindy Williams, half of the comedic duo of Laverne & Shirley, has had a wild and lively career in show business. This book is an engaging and heartfelt journey from Williams’s blue collar roots to unexpected stardom—from being pranked by Jim Morrison while waiting tables at Whisky a Go Go to starring in one of the most iconic shows on television. With wit and candor, Cindy tells stories of her struggles as a child growing up with meager means and dreaming of becoming an actress. She also shares many misadventures and amusing anecdotes about some of the most famous actors in Hollywood. Never taking herself too seriously, Cindy finds humor and irony in the challenging world of show business.

"Live your own story. Make every moment count."Olivia Frasier grew up under the guidance of her grandmother's mantra: "Live a storied life." The oft-repeated words gave her the courage to pursue art instead of working at the family bank until a mistake made in college altered the course of her life. Now, no one knows Olivia still paints. Not her friends. Not her staff at the art gallery. Certainly not her family.She can ignore the twinge of unease, the regret that surfaces when Gram's mantra comes to mind, the question of whether this is all life has to offer.When Gram announces she has terminal cancer--and names Olivia as her Power of Attorney for Healthcare--Olivia is thrust in to the world of hospice and dying wishes. Olivia may be the family's black sheep but she is determined to see Gram through this, no matter the cost.Faced with losing the one person on her side, Olivia clings to the knowledge that Gram's death will finally allow her to walk away from the family. And yet Gram is determined to impart one last lesson: let go of the past so she can live the life she's meant to lead.When Reagan walks into her art gallery, the timing couldn't be worse. He's everything Olivia ever dreamed of wanting but she has learned to settle for less when it comes to her relationships and career. At what point does owning your story outweigh the potential hurt?Weaving together grief and beauty, humor and romance, A Storied Life will make you rethink life, love, and loss.Please note: this book explores the death of a loved one by cancer and contains mentions of past sexual harassment and suicidal ideation that could potentially trigger certain audiences.

A man called N. travels to Margarettown with a woman he loves named Margaret Towne, inhabited solely by four women: Old Margaret, who is 77; 50-something Marge; 17-year-old Mia; and 7-year-old tomboy May. The novel is cast as a letter written by a dying N. to his and Margaret's daughter relaying their courtship and marriage.

Most books on discovering one's "personal myth" focus on uncovering the general patterns or scripts of a life. STORIED LIVES by depth psychologist Craig Chalquist, PhD goes much farther by showing how specific myths play out from cradle to grave. Personal accounts of discovering and working with these myths enliven the book's emphasis on refashioning these plot lines from the inside out.