Fiction

April 5, 2019: In a cozy brownstone in Brooklyn, the veneer of domestic bliss is beginning to crack. Dan and Isabel, husband and wife, are slowly drifting apart—and both, it seems, are a little bit in love with Isabel’s younger brother, Robbie. Robbie, wayward soul of the family, who still lives in the attic loft; Robbie, who, trying to get over his most recent boyfriend, is living vicariously through a glamorous avatar online; Robbie, who now has to move out of the house—and whose departure threatens to break the family apart. And then there is Nathan, age ten, taking his first uncertain steps toward independence, while his sister, Violet, five, does her best not to notice the growing rift between her parents.

April 5, 2020: As the world goes into lockdown, the cozy brownstone is starting to feel more like a prison. Violet is terrified of leaving the windows open, obsessed with keeping her family safe. Isabel and Dan communicate mostly in veiled sleights and frustrated sighs. And dear Robbie is stranded in Iceland, alone in a mountain cabin with nothing but his thoughts—and his secret Instagram life—for company.

April 5, 2021: Emerging from the worst of the crisis, the family reckons with a new, very different reality—and with what they’ve learned, what they’ve lost, and how they might go on.

Harlem, 1926. Young Black women like Louise Lloyd are ending up dead.

Following a harrowing kidnapping ordeal when she was in her teens, Louise is doing everything she can to maintain a normal life. She’s succeeding, too. She spends her days working at Maggie’s Café and her nights at the Zodiac, Harlem’s hottest speakeasy. Louise’s friends, especially her girlfriend, Rosa Maria Moreno, might say she’s running from her past and the notoriety that still stalks her, but don’t tell her that.

When a girl turns up dead in front of the café, Louise is forced to confront something she’s been trying to ignore—two other local Black girls have been murdered in the past few weeks. After an altercation with a police officer gets her arrested, Louise is given an ultimatum: She can either help solve the case or wind up in a jail cell. Louise has no choice but to investigate and soon finds herself toe-to-toe with a murderous mastermind hell-bent on taking more lives, maybe even her own….

One woman’s trash is another woman’s treasure.

A woman with high standards. A rival coworker. And the promotion that stands between them . . .
Coder Marina Spicer has no time to waste when it comes to love, hence her long list of dealbreakers. Frustrated by the online dating world, she created Dealbreakers, an anonymous app where women review how men stack up to their internet profiles. Her high standards have served her well at work, so why not in love?

Enter Lucas Kennedy. A charming Irish content writer, he’s the only one standing between Marina and her long-deserved promotion. Much to Marina’s chagrin, the two are paired on a project to test out date ideas, ultimately determining which of them will run the department. Taking a peek at Dealbreakers hoping to learn some dirt about her rival, she finds he’s the worst-rated man on the entire app.

As Lucas and Marina argue their way through mixing cocktails, salsa dancing, and throwing axes, Marina finds herself having more fun than she’s had in years. So when temptation becomes too strong to resist, Marina allows herself to break some of her own rules. After all, if the Dealbreakers say he’s Mr. Wrong, he can’t possibly be Mr. Right . . . can he?

In Dearly, Margaret Atwood’s first collection of poetry in over a decade, Atwood addresses themes such as love, loss, the passage of time, the nature of nature and – zombies. Her new poetry is introspective and personal in tone, but wide-ranging in topic. In poem after poem, she casts her unique imagination and unyielding, observant eye over the landscape of a life carefully and intuitively lived.

Soon to be a major motion picture sequel to Murder on the Orient Express with a screenplay by Michael Green, directed by and starring Kenneth Branagh alongside Gal Gadot—coming Feb 11, 2022!

Beloved detective Hercule Poirot embarks on a journey to Egypt in one of Agatha Christie’s most famous mysteries.

The tranquility of a luxury cruise along the Nile was shattered by the discovery that Linnet Ridgeway had been shot through the head. She was young, stylish, and beautiful. A girl who had everything . . . until she lost her life.

Hercule Poirot recalled an earlier outburst by a fellow passenger: “I’d like to put my dear little pistol against her head and just press the trigger.” Yet under the searing heat of the Egyptian sun, nothing is ever quite what it seems.

A sweeping mystery of love, jealousy, and betrayal, Death on the Nile is one of Christie’s most legendary and timeless works.

A masterwork by the 2021 Nobel Prize winner in Literature, in which the consequences of an illicit love affair reverberate from the heyday of the British empire to the aftermath of African independence

Early one morning in 1899, an Englishman named Martin Pearce stumbles out of the desert into an East African coastal town and collapses at the feet of Hassanali, a local shopkeeper. When Hassanali’s sister, the beautiful and disillusioned Rehana, nurses Pearce back to health, a love affair sparks, with consequences that will ripple decades into the future, when another clandestine affair bursts into flame, with equally unforeseen and dramatic consequences.

In this devastating and ingeniously spun tale, the Nobelist Abdulrazak Gurnah brilliantly dramatizes the personal and political legacies of colonialism.