For Conrad Burrell—husband, father, and successful attorney in the autumn of his life—the world has come apart. Having long ago lost his first wife, the mother of his grown daughter and a widow herself, to youth and pride, he’s now lost his second to a violent accident,. “You think you’re finished, that you have no more stories in you,” his ex-wife warns, and he fears she’s right. Within hailing distance of the end of his days, after a lifetime of meeting the expectations of others, none are left but Conrad’s own, and he must discover whether love survives death as well as divorce—whether family memory can redeem individual mortality. What do we do, then, we widows and widowers for whom there’s nothing left but the world’s permission to stop what we’ve done all our lives? In the cities of his youth, in the deserts of New Mexico, but most of all in a small Pennsylvania town, Conrad finds he has one more lesson in love to learn from the women of his past, and the one woman he's certain he can't live without. When We Were All Still Alive is a novel of grief and healing, a portrait of a marriage, and a love song to ordinary lives.

“Much like Donna Tartt’s The Secret History, M. L. Rio’s sparkling debut is a richly layered story of love, friendship, and obsession...will keep you riveted through its final, electrifying moments.” —Cynthia D’Aprix Sweeney, New York Times bestselling author of The Nest "Nerdily (and winningly) in love with Shakespeare...Readable, smart.” —New York Times Book Review On the day Oliver Marks is released from jail, the man who put him there is waiting at the door. Detective Colborne wants to know the truth, and after ten years, Oliver is finally ready to tell it. A decade ago: Oliver is one of seven young Shakespearean actors at Dellecher Classical Conservatory, a place of keen ambition and fierce competition. In this secluded world of firelight and leather-bound books, Oliver and his friends play the same roles onstage and off: hero, villain, tyrant, temptress, ingénue, extras. But in their fourth and final year, good-natured rivalries turn ugly, and on opening night real violence invades the students’ world of make-believe. In the morning, the fourth-years find themselves facing their very own tragedy, and their greatest acting challenge yet: convincing the police, each other, and themselves that they are innocent. If We Were Villains was named one of Bustle's Best Thriller Novels of the Year, and Mystery Scene says, "A well-written and gripping ode to the stage...A fascinating, unorthodox take on rivalry, friendship, and truth."

A hybrid text that deals most urgently in the articulation of growth and grief. After the loss of his mother, Omar Holmon re-learns how to live by immersing himself in popular culture, becoming well-versed in using the many modes of pop culture to spell out his emotions. This book is made up of both poems and essays, drenched in both sadness and unmistakable humor. Teeming with references that are touchable, no matter what you do or don’t know, this book feels warm and inviting.

A NEW YORK TIMES NOTABLE BOOK of 2018 * Amazon Book of the Month ✳︎ Indies Introduce 2018 ✳︎ INDIES NEXT 2018 Selection "In Every Moment We Are Still Alive is a tremendous feat of emotional and artistic discipline. ... a triumph."— New York Times Book Review Acclaimed on the front page of the New York Times Book Review, a stunning tour de force telling a powerful tale of love, loss, and redemption In Every Moment We Are Still Alive tells the story of a man whose world has come crashing down overnight: His long-time partner has developed a fatal illness, just as she is about to give birth to their first child ... even as his father is diagnosed with cancer. Reeling in grief, Tom finds himself wrestling with endless paperwork and indecipherable diagnoses, familial misunderstandings and utter exhaustion while trying simply to comfort his loved ones as they begin to recede from him. But slowly, amidst the pain and fury, arises a story of resilience and hope, particularly when Tom finds himself having to take responsibility for the greatest gift of them all, his newborn daughter. Written in an unforgettable style that dives deep into the chaos of grief and pain, yet also achieves a poetry that is inspiring, In Every Moment We Are Still Alive is slated to become one of the most stirring novels of the year.

"A combination of the mystical, magical, and marvelous, Sequoia Nagamatsu weaves a collection of bold, hysterical, and moving tales into an unforgettable debut. From shape-shifters, to star-makers, to babies made of snow, the characters in WHERE WE GO WHEN ALL WE WERE IS GONE form a community of longing, of the surreal, of wonder. What a joy it is to read each and every story." --Michael Czyzniejewski

From the "New York Times"-bestselling author of "The Jane Austen Book Club," the story of an American family, ordinary in every way but one--their close family relative was a chimpanzee.

"[A] portrait of a gritty mother and daughter, living on the edge of poverty, who find an unlikely home amid the quirky residents of small town America" --

"We Are All Leaders" describes a kind of union qualitatively different from the bureaucratic business unions that make up the AFL-CIO today. From African American nutpickers in St. Louis, chemical and rubber workers in Akron, textile workers in the South, and bootleg miners in Pennsylvania to tenant farmers in the Mississippi Delta, packinghouse and garment workers in Minnesota, seamen in San Francisco, and labor party campaigns throughout the country, workers in the 1930s were experimenting with community-based unionism. Contributors to this volume draw on interviews with participants in the events described, first-person narratives, trade union documents, and other primary sources to tell what workers of the 1930s did. The alternative unionism of the 1930s was democratic, deeply rooted in mutual aid among workers in different crafts and work sites, and politically independent. The key to it was a value system based on egalitarianism. The cry, "We are all leaders " resonated among rank-and-file activists. Their struggle, often ignored by historians, has much to teach us today about union organizing. CONTRIBUTORS: Rosemary Feurer, Peter Rachleff, Janet Irons, Mark D. Naison, Eric Leif Davin, Elizabeth Faue, Michael Kozura, John Borsos, Stan Weir A volume in the series The Working Class in American History, edited by David Brody, Alice Kessler-Harris, David Montgomery, and Sean Wilenz

A wise, lyrical memoir about the power of literature to help us read our own lives—and see clearly the people we love most. “Transcendent.”—The Washington Post • “You’d be hard put to find a more moving appreciation of Woolf’s work.”—The Wall Street Journal NAMED ONE OF THE BEST BOOKS OF THE YEAR BY TOWN & COUNTRY Katharine Smyth was a student at Oxford when she first read Virginia Woolf’s modernist masterpiece To the Lighthouse in the comfort of an English sitting room, and in the companionable silence she shared with her father. After his death—a calamity that claimed her favorite person—she returned to that beloved novel as a way of wrestling with his memory and understanding her own grief. Smyth’s story moves between the New England of her childhood and Woolf’s Cornish shores and Bloomsbury squares, exploring universal questions about family, loss, and homecoming. Through her inventive, highly personal reading of To the Lighthouse, and her artful adaptation of its groundbreaking structure, Smyth guides us toward a new vision of Woolf’s most demanding and rewarding novel—and crafts an elegant reminder of literature’s ability to clarify and console. Braiding memoir, literary criticism, and biography, All the Lives We Ever Lived is a wholly original debut: a love letter from a daughter to her father, and from a reader to her most cherished author. Praise for All the Lives We Ever Lived “This searching memoir pays homage to To the Lighthouse, while recounting the author’s fraught relationship with her beloved father, a vibrant figure afflicted with alcoholism and cancer. . . . Smyth’s writing is evocative and incisive.”—The New Yorker “Like H Is for Hawk, Smyth’s book is a memoir that’s not quite a memoir, using Woolf, and her obsession with Woolf, as a springboard to tell the story of her father’s vivid life and sad demise due to alcoholism and cancer. . . . An experiment in twenty-first century introspection that feels rooted in a modernist tradition and bracingly fresh.”—Vogue “Deeply moving – part memoir, part literary criticism, part outpouring of longing and grief… This is a beautiful book about the wildness of mortal life, and the tenuous consolations of art.”—The Times Literary Supplement “Blending analysis of a deeply literary novel with a personal story... gently entwining observations from Woolf's classic with her own layered experience. Smyth tells us of her love for her father, his profound alcoholism and the unpredictable course of the cancer that ultimately claimed his life.”—Time

Two lives. Two worlds apart. One deeply compelling story set in both Bosnia and the United States, spanning decades and generations, about the brutality of war and the trauma of everyday life after war, about hope and the ties that bind us together. Zara and her mother, Nadja, have a strained relationship. Nadja just doesn't understand Zara's creative passion for, and self-expression through, photography. And Zara doesn't know how to reach beyond their differences and connect to a closed-off mother who refuses to speak about her past in Bosnia. But when a bomb explodes as they're shopping in their local farmers' market in Rhode Island, Zara is left with PTSD--and her mother is left in a coma. Without the opportunity to get to know her mother, Zara is left with questions--not just about her mother, but about faith, religion, history, and her own path forward. As Zara tries to sort through her confusion, she meets Joseph, whose grandmother is also in the hospital, and whose exploration of religion and philosophy offer comfort and insight into Zara's own line of thinking. Told in chapters that alternate between Zara's present-day Providence, RI, and Nadja's own childhood in Bosnia and Herzegovina during the Bosnian War of the 1990s, We Are All That's Left shows the ways in which, no matter the time and place, struggle and tragedy can give way to connection, healing and love. Praise for We Are All That's Left: * "A multilayered view of tragedy and its repercussions." --Publishers Weekly, *STARRED REVIEW* * "This complex, compelling story takes readers on a deep dive below the surface, exposing both the fragility of life and the redemptive bonds of love." --Booklist, *STARRED REVIEW* "This important and timely novel is a painful, lovely exploration of mending a mother-daughter relationship." --Kirkus Reviews