NATIONAL BESTSELLER • NATIONAL BOOK CRITICS CIRCLE WINNER • With music pulsing on every page, this startling, exhilarating novel of self-destruction and redemption “features characters about whom you come to care deeply as you watch them doing things they shouldn't, acting gloriously, infuriatingly human” (The Chicago Tribune). One of the New York Times’s 100 Best Books of the 21st Century • One of The Atlantic’s Great American Novels of the Past 100 Years Bennie is an aging former punk rocker and record executive. Sasha is the passionate, troubled young woman he employs. Here Jennifer Egan brilliantly reveals their pasts, along with the inner lives of a host of other characters whose paths intersect with theirs. “Pitch perfect.... Darkly, rippingly funny.... Egan possesses a satirist’s eye and a romance novelist’s heart.” —The New York Times Book Review

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Hunter S. Thompson, “smart hillbilly,” boy of the South, born and bred in Louisville, Kentucky, son of an insurance salesman and a stay-at-home mom, public school-educated, jailed at seventeen on a bogus petty robbery charge, member of the U.S. Air Force (Airmen Second Class), copy boy for Time, writer for The National Observer, et cetera. From the outset he was the Wild Man of American journalism with a journalistic appetite that touched on subjects that drove his sense of justice and intrigue, from biker gangs and 1960s counterculture to presidential campaigns and psychedelic drugs. He lived larger than life and pulled it up around him in a mad effort to make it as electric, anger-ridden, and drug-fueled as possible. Now Juan Thompson tells the story of his father and of their getting to know each other during their forty-one fraught years together. He writes of the many dark times, of how far they ricocheted away from each other, and of how they found their way back before it was too late. He writes of growing up in an old farmhouse in a narrow mountain valley outside of Aspen—Woody Creek, Colorado, a ranching community with Hereford cattle and clover fields . . . of the presence of guns in the house, the boxes of ammo on the kitchen shelves behind the glass doors of the country cabinets, where others might have placed china and knickknacks . . . of climbing on the back of Hunter’s Bultaco Matador trail motorcycle as a young boy, and father and son roaring up the dirt road, trailing a cloud of dust . . . of being taken to bars in town as a small boy, Hunter holding court while Juan crawled around under the bar stools, picking up change and taking his found loot to Carl’s Pharmacy to buy Archie comic books . . . of going with his parents as a baby to a Ken Kesey/Hells Angels party with dozens of people wandering around the forest in various stages of undress, stoned on pot, tripping on LSD . . . He writes of his growing fear of his father; of the arguments between his parents reaching frightening levels; and of his finally fighting back, trying to protect his mother as the state troopers are called in to separate father and son. And of the inevitable—of mother and son driving west in their Datsun to make a new home, a new life, away from Hunter; of Juan’s first taste of what “normal” could feel like . . . We see Juan going to Concord Academy, a stranger in a strange land, coming from a school that was a log cabin in the middle of hay fields, Juan without manners or socialization . . . going on to college at Tufts; spending a crucial week with his father; Hunter asking for Juan’s opinion of his writing; and he writes of their dirt biking on a hilltop overlooking Woody Creek Valley, acting as if all the horrible things that had happened between them had never taken place, and of being there, together, side by side . . . And finally, movingly, he writes of their long, slow pull toward reconciliation . . . of Juan’s marriage and the birth of his own son; of watching Hunter love his grandson and Juan’s coming to understand how Hunter loved him; of Hunter’s growing illness, and Juan’s becoming both son and father to his father . . .

The Catcher in the Rye," written by J.D. Salinger and published in 1951, is a classic American novel that explores the themes of adolescence, alienation, and identity through the eyes of its protagonist, Holden Caulfield. The novel is set in the 1950s and follows Holden, a 16-year-old who has just been expelled from his prep school, Pencey Prep. Disillusioned with the world around him, Holden decides to leave Pencey early and spend a few days alone in New York City before returning home. Over the course of these days, Holden interacts with various people, including old friends, a former teacher, and strangers, all the while grappling with his feelings of loneliness and dissatisfaction. Holden is deeply troubled by the "phoniness" of the adult world and is haunted by the death of his younger brother, Allie, which has left a lasting impact on him. He fantasizes about being "the catcher in the rye," a guardian who saves children from losing their innocence by catching them before they fall off a cliff into adulthooda. The novel ends with Holden in a mental institution, where he is being treated for a nervous breakdown. He expresses some hope for the future, indicating a possible path to recovery..

NEW YORK TIMES BESTSELLER They met over their dogs. Gail Caldwell and Caroline Knapp (author of Drinking: A Love Story) became best friends, talking about everything from their love of books and their shared history of a struggle with alcohol to their relationships with men. Walking the woods of New England and rowing on the Charles River, these two private, self-reliant women created an attachment more profound than either of them could ever have foreseen. Then, several years into this remarkable connection, Knapp was diagnosed with cancer. With her signature exquisite prose, Caldwell mines the deepest levels of devotion, and courage in this gorgeous memoir about treasuring a best friend, and coming of age in midlife. Let’s Take the Long Way Home is a celebration of the profound transformations that come from intimate connection—and it affirms, once again, why Gail Caldwell is recognized as one of our bravest and most honest literary voices.

An instant classic and eerily prescient cultural phenomenon, from “the patron saint of feminist dystopian fiction” (New York Times). Now an award-winning Hulu series starring Elizabeth Moss. In this multi-award-winning, bestselling novel, Margaret Atwood has created a stunning Orwellian vision of the near future. This is the story of Offred, one of the unfortunate “Handmaids” under the new social order who have only one purpose: to breed. In Gilead, where women are prohibited from holding jobs, reading, and forming friendships, Offred’s persistent memories of life in the “time before” and her will to survive are acts of rebellion. Provocative, startling, prophetic, and with Margaret Atwood’s devastating irony, wit, and acute perceptive powers in full force, The Handmaid’s Tale is at once a mordant satire and a dire warning.

As the 2022 French Presidential election looms, two candidates emerge as favourites: Marine Le Pen of the Front National, and the charismatic Muhammed Ben Abbes of the growing Muslim Fraternity. Forming a controversial alliance with the political left to block the Front National’s alarming ascendency, Ben Abbes sweeps to power, and overnight the country is transformed. This proves to be the death knell of French secularism, as Islamic law comes into force: women are veiled, polygamy is encouraged and, for our narrator François – misanthropic, middle-aged and alienated – life is set on a new course. Submission is a devastating satire, comic and melancholy by turns, and a profound meditation on faith and meaning in Western society.

#1 New York Times bestselling author! A New York Times Best Seller! Goodreads Choice Award Winner for Best Fiction of 2014! An Indie Next Pick! From New York Times bestselling author of Eleanor & Park and Fangirl, Rainbow Rowell, comes a hilarious, heart-wrenching take on love, marriage, and magic phones. Georgie McCool knows her marriage is in trouble. That it's been in trouble for a long time. She still loves her husband, Neal, and Neal still loves her, deeply-but that almost seems beside the point now. Maybe that was always beside the point. Two days before they're supposed to visit Neal's family in Omaha for Christmas, Georgie tells Neal that she can't go. She's a TV writer, and something's come up on her show; she has to stay in Los Angeles. She knows that Neal will be upset with her-Neal is always a little upset with Georgie-but she doesn't expect to him to pack up the kids and go without her. When her husband and the kids leave for the airport, Georgie wonders if she's finally done it. If she's ruined everything. That night, Georgie discovers a way to communicate with Neal in the past. It's not time travel, not exactly, but she feels like she's been given an opportunity to fix her marriage before it starts. . . . Is that what she's supposed to do? Or would Georgie and Neal be better off if their marriage never happened?

A national bestseller from the New York Times best-selling author of The Middlesteins, All Grown Up is a wickedly funny novel about a thirty-nine-year-old single, childfree woman who defies convention as she seeks connection. Who is Andrea Bern? When her therapist asks the question, Andrea knows the right things to say: she’s a designer, a friend, a daughter, a sister. But it’s what she leaves unsaid—she’s alone, a drinker, a former artist, a shrieker in bed, captain of the sinking ship that is her flesh—that feels the most true. Everyone around her seems to have an entirely different idea of what it means to be an adult: her best friend, Indigo, is getting married; her brother—who miraculously seems unscathed by their shared tumultuous childhood—and sister-in-law are having a hoped-for baby; and her friend Matthew continues to wholly devote himself to making dark paintings at the cost of being flat broke. But when Andrea’s niece finally arrives, born with a heartbreaking ailment, the Bern family is forced to reexamine what really matters. Will this drive them together or tear them apart? Told in gut-wrenchingly honest, mordantly comic vignettes, All Grown Up is a breathtaking display of Jami Attenberg’s power as a storyteller, a whip-smart examination of one woman’s life, lived entirely on her own terms.

This blistering, fearless, and unforgettable literary novel finds a woman with everything on the line and a life-or-death decision waiting for her—perfect for fans of Claudia Rankine and Jenny Offill. Come of age in the credit crunch. Be civil in a hostile environment. Go to college, get an education, start a career. Do all the right things. Buy an apartment. Buy art. Buy a sort of happiness. But above all, keep your head down. Keep quiet. And keep going. The narrator of Assembly is a black British woman. She is preparing to attend a lavish garden party at her boyfriend’s family estate, set deep in the English countryside. At the same time, she is considering the carefully assembled pieces of herself. As the minutes tick down and the future beckons, she can’t escape the question: is it time to take it all apart? Assembly is a story about the stories we live within – those of race and class, safety and freedom, winners and losers.And it is about one woman daring to take control of her own story, even at the cost of her life. With a steely, unfaltering gaze, Natasha Brown dismantles the mythology of whiteness, lining up the debris in a neat row and walking away. "Virginia Woolf's Mrs. Dalloway meets Claudia Rankine's Citizen...as breathtakingly graceful as it is mercilessly true.”—Olivia Sudjic, author of Sympathy and Asylum Road A woman confronts the most important question of her life in this blistering, fearless, and unforgettable literary debut from "a stunning new writer." (Bernardine Evaristo) “A quiet, measured call to revolution…This is the kind of book that doesn’t just mark the moment things change, but also makes that change possible.”—Ali Smith, author of Summer "Brilliant. Brown's gaze is piercing."—Avni Doshi, author of Burnt Sugar