Fiction

The oldest trick in the book turns out to be the best thing that’s ever happened . . .
Jada Berklee’s acting career is finally heating back up after an on-set romance with her ex ruined her last job on a popular TV show. When she gets a second chance with a desirable supporting role in a hot new romantic comedy, Jada’s determined not to let on-set politics or her off-set ex get in the way again. She’s prepared, polished, professional–and she’s going to knock their socks off.

Still, despite Jada’s best efforts to keep her head down she accidentally walks in on leading man–and notorious lothario–Tristan Maxwell cheating on his latest fling. An intense and embarrassing showdown on set ensues. Of course, there are no secrets in Hollywood, and when their confrontation makes its way to the biggest gossip site in the world, it has consequences for both their careers.

With their reputations on the line, they need public relations rehab, and stat. Tristan’s agent suggests the perfect solution–a fake relationship to get the press off their back and repair both their images. Jada reluctantly agrees. But when their faux-romance begins to have real consequences for them both, Tristan and Jada need to decide if they’re in it for real, and not just when the cameras are rolling.

“A woman must have money and a room of one’s own.” So said Virginia Woolf in her classic A Room of One’s Own, but in this scrupulously observed, gorgeously wrought debut novel, Jo Hamya pushes that adage powerfully into the twenty-first century, to a generation of people living in rented rooms. What a woman needs now is an apartment of her own, the ultimate mark of financial stability, unattainable for many.

Set in one year, Three Rooms follows a young woman as she moves from a rented room at Oxford, where she’s working as a research assistant; to a stranger’s sofa, all she can afford as a copyediting temp at a society magazine; to her childhood home, where she’s been forced to return, jobless, even a room of her own out of reach. As politics shift to nationalism, the streets fill with protestors, and news drip-feeds into her phone, she struggles to live a meaningful life on her own terms, unsure if she’ll ever be able to afford to do so.

In life, Bill Cosey enjoyed the affections of many women, who would do almost anything to gain his favor. In death his hold on them may be even stronger. Wife, daughter, granddaughter, employee, mistress: As Morrison’s protagonists stake their furious claim on Cosey’s memory and estate, using everything from intrigue to outright violence, she creates a work that is shrewd, funny, erotic, and heartwrenching.

Joe Goldberg is done with the cities. He’s done with the muck and the posers, done with Love. Now he’s saying hello to nature, to simple pleasures on a cozy island in the Pacific Northwest. For the first time in a long time, he can just breathe.

He gets a job at the local library—he does know a thing or two about books—and that’s where he meets her: Mary Kay DiMarco. Librarian. Joe won’t meddle, he will not obsess. He’ll win her the old-fashioned way . . . by providing a shoulder to cry on, a helping hand. Over time, they’ll both heal their wounds and begin their happily ever after in this sleepy town.

The trouble is . . . Mary Kay already has a life. She’s a mother. She’s a friend. She’s . . . busy.

True love can only triumph if both people are willing to make room for the real thing. Joe cleared his decks. He’s ready. And hopefully, with his encouragement and undying support, Mary Kay will do the right thing and make room for him.

Jezebel was born into the world howling. She intends to leave it the same way.

When Jezebel learns she can’t be a king like her father simply because she’s a girl, she vows never to become someone’s decorative wife, nameless and lost to history. At fifteen she’s married off, despite her protests, to Prince Ahab of Israel. There, she does what she must to gain power and remake the dry and distant kingdom in the image of her beloved, prosperous seaside homeland of Tyre, beginning by building temples to the gods she grew up worshipping. As her initiatives usher in an era of prosperity for Israel, her new subjects love her, and her name rings through the land.

Then Elijah, the prophet of Yahweh and her former lover, begins to speak out against her. Bitter at having been abandoned by Jezebel, he lashes out, calling her a slut. Harlot. Witch. And the people, revering their prophet’s message, turn on her.

As ancient powers and faiths are pitted against each other, bloodshed descends on Israel and Jezebel faces the fall of her legacy. Determined despite the odds to make Israel a great nation, she must decide how far she’s willing to go to protect her family, her throne—her name. A stunning revision of a notorious queen’s story, Jezebel is a thrilling lyrical debut about a fierce woman who refuses to be forgotten.